MINGEI - Noboribetsu Hokkaido Demons

https://omamorifromjapan.blogspot.jp/2017/02/noboribetsu-oni-demons.html

Noboribetsu Oni Demons

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. Oni 鬼 demon, ogre, monster - Introduction .
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Oni 登別の鬼　The Demons of Noboribetsu

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Noboribetsu in southwestern Hokkaido is the location of the Noboribetsu, Karurusu, kaminoboritbetsu hot springs, and has a rich variety of scenery including forests, lakes and marshes. It has been designated a part of Shikotsu-Toya National Park.
The Noboribetsu hot spring is one of Hokkaido's best-known hot springs, and is surrounded by a virgin forest 200 meters above sea level. It has 9 different kinds of water, containing minerals such as sulfur, salt, and iron. The quality of these minerals results in the spa being ranked among the world's most exceptional hot springs.

In the northeastern part of the hot spring grow many sorts of broad-leafed trees, including oaks, and a bamboo grass called 'kuma-zasa.' The area is called Noboribetsu Primeval Forest, and has been designated as a natural monument. To the east is Mt. Shihorei, from which you can view Lake Kuttara, with its clear water said to be the second most transparent in Japan.



The most impressive scene at the hot spring is the 地獄の谷 Jigoku Valley (hell valley), where yellowy gray volcanic gas seeps from the surface of the rocks. This makes the whole place smell strongly of sulfur, and gives it an image like that of hell. The valley is a 450-meter-diameter mouth of a volcano, which produces 3,000 liters of hot water per minute.
source : jnto.go.jp/eng/regional/hokkaido

登別の湯を守る湯鬼神（ゆきじん）。登別温泉の様々なイベントに現われ人々の幸せを願い厄払いをしてくれます。　夏の間だけ繰り広げられる「地獄の谷の鬼花火」では、赤鬼と青鬼が地獄谷を舞台に道内では珍しい手筒花火を打ち上げ、太鼓の音色とともに舞い踊ります。

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Meet the Demons (Oni) of Hell Valley in Noboribetsu Onsen
Every year in summer, you can experience the fable of Hell Valley (Jigokudani) unfold before your eyes.


----- JR Noboribetsu Station Welcome Demon 登別駅前　歓迎鬼像

The Demon's Fireworks (鬼花火 Onihanabi) burst into life at 8:30pm on Thursdays and Fridays from June 1 through to August 7 at the Hell Valley Observatory. The Yukijin (the demons who protect the hot springs in Noboribetsu) carry large burning torches in the shape of kanabo clubs shooting fireworks like volcanic eruptions along the path into Hell Valley, lighting up the night.
However,
before you enjoy this exciting event, you should first meet the many legendary inhabitants of Hell Valley to help you fully appreciate the festivities.
There are 11 demon spots in Noboribetsu and each of them is unique.

Yukijin 湯鬼神 Demon Guardian of the Hot Springs
The Yukijin are the stars of the show at the Onihanabi fireworks festival. At this time of the year they show up at festivals and events to drive away evil spirits and bring happiness to people.

You'll see them carrying two symbolic weapons for these dual roles: a sword to protect people from evil spirits, and kagura bells to alert everyone of their arrival as they walk through the streets and drive away bad luck. Away from the festival, most of the demons you encounter carry a large spiked club called a kanabo – making the strong even stronger – and not someone you'd like to meet on a dark night.


----- Romance Demon 恋愛成就




Demon of Business Prosperity シンボル鬼　商売繁盛鬼像
Noboribetsu-Higashi Interchange Demon 登別東高速IC前
Parent and Child Demons 歓迎親子鬼像
Praying Demon Shrine (Onizo Nembutsu) 鬼祠 -念佛鬼像
Sengen Park Demon 泉源公園の鬼っこ
Study Demon シンボル鬼　合格祈願
Yukake Hot Water Demon 湯かけ鬼蔵
- - - - - King Enma Shrine - King of Hell 閻魔堂

If you want to learn more about things to see and do in Noboribetsu Onsen, take a look at the Noboribetsu Tourist Onsen homepage.
- source : takimotokan.co.jp/english/news -

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Noboribetsu Jigoku Festival　登別地獄祭り　




Noboribetsu Onsen Festival　登別地獄祭り



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The festival is for appreciating the powerful water and various quality of "hot water," and wishing for future prosperity and sound health. Various events are held, such as splashing buckets of hot water and mochi rice cake pounding dance for children.
- source : nihon-kankou.or.jp -


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wasabi from Noboribetsu
登別のわさび
This has started about 100 years ago, when the local doctor found a spring with very good and plentiful fresh water. He introduced the wasabi fields and used the wasabi as a kind of medicine for the villagers, to prevent food poisoning in the hot summer days. Now in the 4th generation, they keep these fields in good order and provide wasabi dishes of all kinds.

. Food from Hokkaido 北海道 .

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. Reference .

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- - - - - Haiku and Senryu - - - - -

雪山に噴く湯ゆたかに登別
yukiyama ni fuku yu yutaka ni Noboribetsu

in the snow mountains
hot water sprouts plentiful -
Noboribetsu

清水寥人 Shimizu Ryojin (1920 - 1994)
Famous novelist



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MINGEI - imono metal art

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imono　鋳物 ironware, cast iron, metal art
chuukin 鋳金 Chukin, metal casting

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Having had its foundation laid in antiquity, metal craft using both precious and non-precious materials has achieved a high degree of refinement in Japan. Despite its superb quality, metalwork does not enjoy the renown of other Japanese crafts.
source : japan-brand.jnto.go.jp/category/crafts/metal

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. hoochoo 包丁 Hocho knives .
- waboochoo 和包丁 Wabocho Japanese knives

. tetsubin　鉄瓶 iron kettles .
Iwate Nanbu Tekki

. tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware .
tankin　緞金 beating gold
Also called tanzoo 緞造, uchimono 打物, tsuikin 鎚金 and kaji 鍛冶
Tsubame Tsuiki Dooki 燕鎚起銅器　Tsuiki Doki : hammered metal ware from Tsubame town, Niigata


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- - - - - quotes from JAANUS - - - - -

chuukin　鋳金 - chukin
Metal casting. A technique used in metalwork to produce vessels or sculptures by melting down metal and pouring it into a mould. Metals used for casting include gold, silver, copper, iron, tin, lead, aluminium, and a variety of alloys. Bronze makes a particularly good casting metal and is highly resistant to corrosion. The casting process can be divided into three stages: i) making the mould, ii) pouring in the molten metal, iii) the finishing stage. Stages ii) and iii) are common to all cast-metal works, but stage i) varies, as there are a great many materials and methods which can be used to make the casting mould igata 鋳型. The best-known methods include:
1　
Stone mould casting *ishigata 石型, which was used to make bronze objects such as the Yayoi period halberd and doutaku 銅鐸 (bell-shaped bronze). Molten bronze was poured into a mould carved into a block of sandstone.
2　
Lost-wax casting *rougata 蝋型 roogata, rogata, was the method used for all bronze sculptures produced from the sixth to the twelfth centuries. A clay model of the images was made as a core, and this was then covered with a layer of beeswax, on which surface features of the image were modelled. Then another layer of clay was added to make an outer shell. Pins were inserted connecting the inner and outer shell, and the entire mould was fired. The wax melted and ran out, leaving an empty space, which was filled with molten bronze. When the bronze cooled and hardened the outer shell and inner core were removed. The surface of the statue was then finished with a chisel, and often gilded with an amalgam of gold and mercury.
3
*Sougata 総型 soogata, sogata, was a casting technique where the surface pattern was engraved on the inside of a clay mould and an inner core *nakago 中型, also made of clay but reduced in size according to the desired thickness of the metal object, was enclosed. After firing, melted metal was poured into the space between the outer mould and the inner core. An adaptation of sougata was kezuri-nakago-chuuzou 削り中型鋳造 (casting with a scraped-off mould). A clay core was covered by a second layer of clay which formed the outer mould. The outer mould was then removed from the core, and the surface of the core was scraped away, according to the desired thickness of the object. The outer mould was then replaced and molten metal poured into the space created by the scraping, between the outer mould and inner core.
4　
Replica casting *fumigaeshi 踏返 was a method used to produce a copy of a flat, simple metal object, for example a mirror. The original object was covered with clay to make a mould. The copy was then made by casting in the clay mould. The dimensions of the duplicate were slightly smaller, and the design less clear than that of the original.
5　
Another technique known as *komegata 込型　(sealed mould), or warikomegata 割込型 (sectioned sealed mould) used a clay mould applied directly over a wood, clay, or stone model of the statue. After firing or simply drying, the mould was divided into pieces and reassembled for casting. This method permitted fine details to be reproduced on the mould, and also had the advantage that it was possible to preserve the original model undamaged.
6　
The simplest casting method used in Japan, suitable for objects like coins or mirrors was the sand mould *sunagata 砂型. Sand was contained in a wooden or metal frame. A raw clay model of the desired object was pressed into the sand. Molten metal was then poured into the hollow impressed in the sand. This method began to be used in the Edo period. The earliest metal casting in Asia began in ancient China for making ceremonial bronze vessels, and later the technique was highly developed for the production of mirrors and Buddhist statues. In Japan important uses included Buddhist statues and implements,temple bells, mirrors, and the iron kettle used in the tea ceremony.

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kigata imono 木型鋳物
A method of metal casting using a wooden model. The wooden model was called kigata 木型.
The kigata was carved first, and over this a clay mould (sometimes called *megata 雌型) was made, which was then used for casting. Recent research suggests that the kigata imono method was used in the production of all gilt bronze images during and after the Late Heian period.

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rougata 蝋型 rogata
Also rougata chuuzou 蝋型鋳造, rougata imono 蝋型鋳物. A method of metal casting known as the lost-wax technique. Frequently used in Japan for casting bronze statues, which were often gilded. See *kondou 金銅. First, a basic model of the desired vessel or statue was made in clay or plaster. This was then covered with a layer of beeswax mixed with pine resin, which was moulded to the required shape and engraved with surface details. An outer layer of soft clay or plaster was then applied over the wax. The outer clay mould and the inner model were secured from the sides, or at the front and back, using fragments of metal *katamochi 型持 or metal pins *kougai 笄. The entire construction was then fired, causing the mould to harden and the wax to melt and run out. Melted metal was poured into the gap left by the wax, between the outer mould and the inner core. When the metal had cooled and hardened the statue was removed from the inner and outer moulds, and the marks left by the pins were repaired. See *ikake 鋳掛.
Solid metal statues were produced from a model made directly from wax without an inner core. This model was then covered, fired and cast.
The lost-wax method allowed free modelling, as the wax surface was very easy to work, and was suitable for casting complex forms and intricate detail. It produced a beautifully smooth, sculptural surface in bronze.
In Japan the lost-wax method was used from the 6c, beginning with small gilt-bronze statues of the Asuka and Nara periods such as the Shoukannonzou 聖観音像 in Yakushiji 薬師寺, Nara. Most of Japan's early bronze statues are believed to have been made by this method. Its use continued during and after the Heian period, and the same technique was used to make small decorative carvings *netsuke 根付 in the Edo period.

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chuuzou 鋳造 chuuzoo, chuzo - - - Also imono 鋳物.
Casting. A technique used to make cast sculptural forms. The base material was heated and melted down to a liquid, which was poured into a mould, igata 鋳型. This was then left to harden and the mould removed to leave a solid form. Metal, plaster, clay or glass could be cast in this way. The term chuuzoubutsu 鋳造仏 refers to cast Buddhist images. *Chuukin 鋳金 refers specifically to metal casting, but since metal was the material most commonly associated with cast images, the terms chuuzou and imono are often used interchangeably with chuukin.


kondou 金銅 kondoo, kondo - gilt bronze
- source : JAANUS : imono -

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- ABC - List of metal work from the Prefectures
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................................................................................ Ishikawa 石川県 　

. kinpaku 金沢金箔 gold foil, gold leaf foil .
Kanazawa haku 金沢箔 leaf foil of gold, silver or platinum


................................................................................ Kanagawa 神奈川県 　

. Odawara imono 小田原 鋳物 Odawara casting .


................................................................................ Kumamoto 熊本県　 　

. Higo zoogan 肥後象嵌　Higo Zogan inlay .


................................................................................ Niigata　新潟県 　

. roogata chuukin 蝋型鋳金 wax casting .
Sado Island

. tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware .
Tsubame town　燕

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................................................................................ Osaka 大阪　 　

Osaka suzuki 大阪錫器　Osaka tin ware



6 Chome-6-15 Tanabe, Higashisumiyoshi Ward, Osaka / 大阪錫器 company
- reference source : osakasuzuki.co.jp -

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Osaka Naniwa tin ware
There are many kinds of drinking cups around the world. While the West offers various types of glassware, and Asia has a preference for ceramic cups, in Japan a tin cup style known as suzu-ki (tinware) can also be found in production.

Used since prehistoric times, tin was introduced to Japan by Kenzuishi, a Japanese envoy to Sui Dynasty China, and Kentoshi, a Japanese envoy to Tang Dynasty China, between the seventh and ninth centuries. Thereafter, tin began to be produced in Japan as well. But at the time, it was a material valued like gold and silver are today, so it was only used in limited settings, including the imperial court.

In the Edo Period (1603-1868), tinware became popular among the general public in the form of drinking cups and Japanese tea sets. By the middle of the period, the manufacture and sale of tinware began to center on parts of Osaka, with strong distribution channels in areas such as Shinsaibashi and Tenjinbashi. This heralded the beginning of Osaka Naniwa tinware.



While Naniwa tinware quickly evolved into a full-fledged industry, the start of World War 2 led many craftsmen to be drafted, and material procurement became difficult, plunging the technique into crisis. Following the war, craftsmen from around Osaka gathered to maintain the tradition of Osaka Naniwa tinware, and the industry was reborn. It was recognized by the Japanese government as a traditional craft in 1983.

Tinware is used for a wide variety of products due to its combination of practicality and aesthetic appeal. It is characterized by strong ion properties that have purifying effects on liquids, particularly removing zatsumi (unfavorable taste) from saké to make it smooth and delicious. Tin is also reputed for moisture protection, and is said to help maintain the freshness of tea leaves, making it suited for drinking cups, pots and teacups. Also, given its beautiful, clean color, it's used for various products including cassolettes, cinnabar seal ink cases, Buddhist or Shinto religious instruments, and decorations.

Osaka Naniwa tinware boasts a tin percentage of more than 97 percent, and this high degree of purity truly brings out the benefits of tin.
- source : japan-brand.jnto.go.jp/crafts/metal -

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................................................................................ Toyama　富山県 　

Takaoka imono 高岡鋳物 Takaoka metal ware



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Takaoka Casting
Each area in Japan is rooted with its own unique metal industry, and in Takaoka, Toyama Prefecture, a wide range of metal casting techniques such as bronze, alloy and tin have been developed. Bronze in particular accounts for 95% of the production nationwide.

Takaoka-Imono emerged from a town called Kanaya machi located along the Senbogawa river in Takaoka city, Toyama Prefecture. In 1609, Maeda Toshinaga, the second head of Kaga Domain and builder of a castle in Takaoka, invited seven Imoji artisans in hope of revitalizing the local industry.

The production of Imono using copper alloy became particularly popular around the 18th century. In 1873, at the Weltausstellung 1873 Wien, Kanamori Soshichi, who ran his own Imono production factory and exported his products, was awarded a prize, which led to more artisans in the country receiving awards, and Imono establishing its status globally. In 1975, it was certified as a Traditional Craftwork by the national government, and has since been used for the creation of a wide variety of products, with new crafting techniques constantly emerging.


source : 4travel.jp/travelogue
- 藤子不二雄 - まんが道 Manga Road in Takaoka -

Takaoka-Imono
has recently been adopted for the production of bronze statues of popular manga characters, which have then been placed in various parts of Japan. For the past few years, local municipalities and people in shopping arcades in the metropolitan area have begun to place bronze statues of popular manga characters as part of their plan to revitalize their communities. In March, 2010, 11 statues of characters from the popular manga most commonly known as Kochikame were placed around the Kameari station in Katsushika Ward, Tokyo. In March, 2012, 12 statues of "family" characters from "Sazae-san", a ubiquitous manga/anime series that depicts the everyday life of one family, were put in place around the Sakura-shinmachi station of the Tokyu Denen-toshi line as part of the city's shopping arcade, "Sakura-shinmachi" shopping street in Setagaya Ward trying to enliven its community.
In March, 2013, a bronze statue of Ozora Tsubasa, the main character from the manga "Captain Tsubasa", was placed in Yotsugi-tsubasa park in Katsushika Ward, Tokyo. All statues are made of Takaoka-Imono. By collaborating with popular manga characters in the form of bronze statues, Takaoka Imono has made itself known to many around the country, which led to boosting the sale of its products as well.

As for plateware, the gorgeous looks of cups and sauce-pouring containers using antibacterial tin make them popular as gifts for loved ones.

Nowadays many companies in Takaoka are shifting their production focus to the making of high-quality interior decoration. These combine modern tastes with the influence of Japanese design to create products you won't find anywhere else.
- source : japan-brand.jnto.go.jp/crafts -


Takaoka dooki　高岡銅器 bronze work






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................................................................................ Yamagata 山形県 　

. Yamagata imono　山形鋳物 ironware, cast iron, metal art - Yamagata Casting .


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. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

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Posted By Gabi Greve to Omamori - Japanese Amulets on 2/20/2017 10:08:00 am

MINGEI - tsuiki hammered metal ware

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. Niigata Folk Art - 新潟県　- Introduction .
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tsuiki 鎚起, tsuikin 鎚金 hammered metal ware, metalware

Tsuiki means shaping metal by hand hammering。


tankin　鍛金　hammering　
The term tankin is used in Japan today to refer to a range of different techniques that broadly divide into tanzo, tsuiki, shibori and bankin.

Tanzo (forging) is the technique used for iron. The other techniques are used for gold, silver, copper and alloys. When a solid mass of metal is hammered out, the technique is known as tsuiki.
Shibori and bankin are techniques used on sheet metal that has been prepared in advance by mechanical means.

Bankin involves the cutting and bending of sheet metal, whereas shibori, which allows the creation of freely conceived forms, involves hammering. Most metals harden when they are hammered and become soft and pliable when they are heated and slowly cooled, a process known as annealing (yakinamashi). These properties are made use of in all tankin techniques except bankin.
- source -　nihon-kogeikai.com - 日本工芸会 -

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tankin　緞金 beating gold
Also called tanzoo 緞造, uchimono 打物, tsuikin 鎚金 and kaji 鍛冶.
A basic metalwork technique for hammering out a metal lump with a metal or wooden hammer, beating a metal sheet thin from the front and back, or pressing metal to give it form. Used since the Japanese first started to use metals in the Yayoi period, and employed at first for gold, silver and copper, then for bronze, nickel, brass, iron and tin.
Tankin techniques are divided into categories of tsuikin, bankin 板金 and oshidashi 押出.
Tsuikin (hammer relief) is beating sheet metal from the front and back to give three dimensional form or relief patterns.
In the Kofun period it was used on long swords and harnesses; it is common on Buddhist altar fittings since the Nara period; in the Muromachi period it is seen on fittings of helmets and armor; and in the Meiji period Yamada Sobi 山田宗美 utilized it for sculpture.
Bankin (sheet metal process) is the folding and soldering of metal sheets to create three-dimensional forms such as reliquaries, sutra boxes and hanging lanterns.
Oshidashi (extrusion) uses a thin metal sheet on a template and is beaten from the top to transfer the shape; it can be utilized for mass production. In the Nara period, it was used widely for *oshidashibutsu 押出仏 (extruded Buddhist image) and the *sentaibutsu 千体仏 (thousand Buddhist images) inside the Tamamushi shrine *Tamamushi no zushi 玉虫厨子 in Houryuuji 法隆寺.
It requires a kanatoko 鉄床 (anvil), *kanazuchi 鉄鎚 (iron hammer), *kizuchi 木槌 (a mallet), ategane 当金 (dolly), *tagane 鏨 (graver) and yasuri 鑢 (file) to make *butsuzou 仏像 (Buddhist image), butsugu 仏具 (altar fittings), dora 銅鑼 (gongs), bugu 武具 (armory), *kooro 香炉 (an incense burner), pots, dishes and kettles.
- source : JAANUS -

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tankin no iroha 緞金のいろは the basics of beating metal
- reference source : akaitaro.com/tankin-

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- ABC - List of tsuiki from the Prefectures

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................................................................................ Niigata　新潟　燕市 　

Tsubame Tsuiki Dooki 燕鎚起銅器　Tsuiki Doki : hammered metal ware from Tsubame town
Reference mentions bronze, tin or copper as the main material used.



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Tsubame Tsuiki Coppereware
- - - - - Description
Tsubame Tsuiki Coppereware are metalwork made in an area around Tsubame City, Niigata Prefecture. As traditional craftwork originating in the mid-Edo Period, Tsubame Tsuiki Coppereware have been produced in the form of kettles, and the like, by using copper extracted from the region's Mt. Yahiko.
Tsuiki means shaping metal by hand hammering, and in this case one piece of malleable copper plate will be extended using a range of traditional skills and techniques. Characteristics of Tsubame Tsuiki Coppereware include a shiny appearance created by tsuiki performed by a master artisan, and with time the texture of copper increases in attractiveness with long-term use and proper care. In addition to kettles, other beautiful Tsubame Tsuiki Coppereware every day articles include vases, water pitchers, teapots, and the like. And apart from looking so fine, tea poured from a copper teapot is said to have a milder taste due to the action of metal ions. Each product is made by several hundred thousand hammer blows making the outer side so smooth it looks like china.
Tsubame Tuiki Coppereware was designated as a traditional craft by the Minister of Economy, Trade and Industry in 1981.
- - - - - HISTORY
Tsubame City, Niigata Prefecture, famous for its production of metalwork, has a history starting from the making of Japanese nails in around the early Edo Period. Tsubame Tsuiki Doki originates with artisans from Sendai visiting Tsubame City sometime in the mid-Edo Period and introducing the copperware techniques of tsuiki; the hammering techniques of that time have been handed down for well over 200 years. Tsubame City is currently the only area producing tsuiki copperware in the country. The main reason for the development of the production of tsuiki copperware in the region is the high-grade copper ore extracted from neighboring Mt. Yahiko. Tsubame Tsuiki Coppereware over time developed techniques beyond the simple making of kettles and in the Meiji Period adopted metal carving techniques suited for more artistic crafts. Copperware, such as teapots, vases, and art work, which become more attractive over a long period of time has been loved for many years, and has become indispensable in daily life.
A vase of Tsubame Tsuiki Coppereware was even dedicated to the Emperor Meiji in 1894.
- - - - - PROCESS
1. Hammering
The production processes of hammered copperware vary depending on the shape of article to be made. The following explanation describes the making of the popular kettle. There are four basic processes: copper plate cutting, plate shaping, decorative work, and finishing. In the first process, a copper plate is cut to size. Hammering is then performed on a side surface part. The copper plate is placed on a wooden table exclusively used for this process, and the side surface part is hammered with a wooden hammer. Varying indentations on the wooden table are important for creating different sections of the kettle, such as a side surface or the spout. The strength and angle of hammering need to be considered depending on the rigidity and malleability of the copper plate. This process requires a very high level of skill, and is a true test of the artisan's abilities.
2. Uchishibori (Thinning)
Next, the copper plate is hammered and made thinner. The copper plate is placed on a metal tool called a torikuchi (L shaped stake). This tool, which is also called an ategane (stake), is used for a variety of techniques and purposes depending on the item being made, and when used is inserted in an agariban (wooden table) made from Japanese zelkova. The copper plate needs to be hammered many times in order to make a kettle spout; a task requiring much perseverance and concentration.



3. Annealing
Continuously hammered copper plate becomes gradually harder, and needs to be temporarily softened in a furnace at around 650°C. Hammering and heating are repeated many times until completion.
4. Shaping
Any irregularities and deformation on the body are adjusted and balanced to give a beautiful shape. The surface becomes shinier as it is repeatedly hammered.
5. Metal carving
After the product is shaped, the surface is processed. A detailed design is drawn, engraved, and carved with a tool called a tagane (cold chisel). Inlaying is sometimes carried out to overlay the product with gold and silver decoration. Metal carving adds brightness and elegance to the plain copper color of the kettle.
6. Coloring and Finishing
Finally, to give a different texture to the metal surface, the kettle is dipped into a solution and the color changed. There are two kinds of coloring methods. In the black color-based method, the kettle is tinned and fired at 800°C, and then hammered. For coloring, the product is then boiled in the liquid obtained by mixing green rust and copper sulfate, which gives an attractive dark purple color called kinko. In the red color-based method, the product is boiled for several hours longer in the liquid until the creation of a brown color called sentoku. Tsubame Tsuiki Coppereware articles made by repeated hammering of a single piece of copper plate have a unique beauty seen in no other metal work.
The copperware we see today is a testimony to the traditional techniques of tsuiki lying at the heart of Tsubame Tsuiki Coppereware and faithfully handed down through generations of skilled artisans.
- - - - - Tsubame Industrial Materials Museum
- source : kogeijapan.com/locale -

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Hand Hammered Copper Vase by Gyokusendo Corp
- source : themodernvault.com/product -



CLICK for more of Gyokusendo metal art work !

- HP of Gyokusendo 無形文化財 鎚起銅器 - 200 Years Gyokusendo 玉川堂
- reference source : gyokusendo.com-

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- quote -
Tsubame-tsuiki Bronze Ware
Tsubame-tsuiki bronze ware is a traditional artifact that is created using an extremely complex forging technique, which can be summarized as the hammering of a plate of bronze in a wide variety of ways. This will turn it into the shapes of various accessories such as kettles, flower vases and plateware.

While it might seem a great wonder that one plate of metal can be turned into the shape of an almost round object, this is what makes a Tsubame-tsuiki bronze ware artisan a master of his craft. On the inner side of a bronze plate, one connects an iron stick called "Toriguchi" whose pointed end can come in hundred different kinds of shapes. When the plate is beaten from the outside with a hammer (of which there are hundred types as well), it eventually changes into a 3-dimensional shape. The vibration that is given to the bronze plate creates some unique effects, depending on the shapes of "Toriguchi" and hammers and how the plate is beaten; It can then be stretched or even shrunk. This is the hardest part of its production process, and it would take 20 to 30 years for one artisan to be able to handle the entire process on his/her own.

The metal-processing industry in Tsubame city, Niigata prefecture originated from the making of Japanese nails as a side business for farmers in the beginning of the 17th century. With the convenience of the near Yahiko mountain being a copper mine, many variety of products connected fine skills and creativity came to prominence. These included bronze ware, pipe, file, and yatate (portable writing utensils with a brush and an ink bottle).

During the 18th century, a technique called "Tsuiki" was brought by artisans from the area which covers the current Sendai in Miyagi Prefecture. It enables one to make kettles, flower vases or plates without any joint lines by beating out one bronze plate repeatedly. This was the start of Tsubame-tsuki bronze ware, leading to what has now become a world-famous craft. It has the practicality and artistry of traditional craftwork created by highly-skilled artisans and its luster more comes out after repeated use.

In addition to traditional everyday items, Tsubame-tsuiki bronze ware is now available in the form of new product designs which have never been seen before, such as Western plates or wine coolers, receiving high acclaim in and out of the country. It has been used as plateware, for instance, in a world-famous French restaurant and has been featured in collaborations with well-known brands' new products, which has served the purpose of spreading traditional Japanese craftwork out to the rest of the world.
- - - - - Tsubame Local Industry Promotion Center
- source : japan-brand.jnto.go.jp/crafts -



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. . . CLICK here for Photos !

. Reference .

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- - - #tsuiki #bronzeware #tsubametsuiki #metalware - - - - -
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Posted By Gabi Greve to Omamori - Japanese Amulets on 2/13/2017 10:31:00 am

MINGEI - Ehamadou shop Fukuoka

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Ehamadoo 絵羽馬堂 Ehama Do



福岡県八女市馬場760の2 / 760-2 Baba, Yame-shi, Fukuoka
- homepage : ehamadou.com/shop.html






- reference source : ehamadou.com/production -
作り方 How to make Hariko papermachee dolls






at 八女観光物産館 Yame Kanko Bussan-Kan

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. Fukuoka Folk Art - 福岡県 .

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- #ehamadou -
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Posted By Gabi Greve to DARUMA MUSEUM (02) ... DARUMA ARCHIVES on 12/28/2016 08:22:00 pm

MINGEI - kosho Daruma Chiba

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. Chiba Folk Art - 千葉県 - Introduction .
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kosho Daruma 古書だるま Daruma from old books

They are made by 松本節太郎 Matsumoto Setsutaro, who makes all kinds of dolls from local clay and paper, 下総玩具 Shimofusa gangu toys.
He has produced more than 1500 dolls.
Before settling down at his shop, 根戸工房 he roamed the area as a kind of homeless wanderer.
He used to pack his rucksack full of dolls, travel to downtown Tokyo and sit by the roadside or at a temple ground during a festival to sell them.
He made kubi ningyoo 首人形 head dolls and kashiwa hariko 柏張り子 papermachee dolls in the Kashiwa style.

Look at this page for 30 photos of his work:
source : kashiwa-museum.com/exhibition

松本節太郎 Matsumoto Setsutaro (1903 - 2004)

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. Reference - "古書だるま" .

. gangu 玩具　伝説, omochcha おもちゃ 　toy, toys and legends .
- Introduction -

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. Regional Folk Toys from Japan .

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. Tohoku after the BIG earthquake March 11, 2011

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- - - #koshodaruma #shimofusadaruma - - - - -
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Posted By Gabi Greve to Omamori - Japanese Amulets on 12/26/2016 01:19:00 pm

MINGEI - Yamagata city mingei

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. Yamagata Folk Art - 山形県　 - Introduction .
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Yamagata Mingei 山形市民芸 Folk art from Yamagata city



quote
Yamagata (山形市 Yamagata-shi) is the capital city of Yamagata Prefecture located in the Tōhoku region of northern Japan.
The Mogami River passes through the city, which includes Mount Zaō within its borders. ...
The area of present-day Yamagata was part of Dewa Province. During the Edo period, it was the center of Yamagata Domain under the Tokugawa shogunate. The modern city of Yamagata was founded on April 1, 1889 as the capital of Yamagata Prefecture. The city attained Special city status on April 1, 2001.
source : More in the Wikipedia

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. butsudan, Yamagata Butsudan 山形仏壇 Buddhist Family Altar .

. hariko, Yamagata hariko 山形張り子 papermachee dolls .
. . . . . including Shibue ningyoo 渋江人形 Shibue dolls
. . . . . tako ni neko 蛸に猫 octopus cuddeling a manekineko cat

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Hirashimizu-yaki 平清水焼 Hirashimizu pottery

. Hirashimizu - Vase with Daruma san .

Hirashimizu, the "Pottery Village, to the south of Yamagata city is a renowned pottery producing area.
It started with 小野藤次平 Ono Fujitsugitaira (Onofuji Jihei) around 1810, who settled here, coming from Hitachi province.
Around 1830, 安倍覚左エ門 Abe Satoshihidariemon (Abe Kakuza Doraemon) from the Soma clan settled here.



It is said that at its peak there were some 20 producers in the area. This number has now dwindled to six which are enjoying the recent boom in ceramics. The peach Celadon style whereby the iron particles protrude through the celadon glaze giving the pottery a peach-skin effect is particularly well known. Pottery lessons and tours of the buildings where the potters sit at their wheels can be arranged by the Shichiemon, Bun'emon and Heikichi potters.


Hirashimizu Daruma

Hirashimizu ningyoo 平清水人形 Hirashimizu clay dolls



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imono　山形鋳物 ironware, cast iron, metal art


「山形鋳物」950年の歴史 - 950 years of history
source : pref.yamagata.jp/ou/shokokanko


- quote -
- Yamagata Ironware: matured over 900 years

- Cutlery and Implements
Inheriting the tradition of swordsmiths, the challenge for new craftwork for Yamagata swordsmith.
It is said that around 650 years ago, the founder for Mogami family, Kaneyori Shiba (1315-1379) moved to Yamagata. He took his own smiths with him. Swords and farm equipment were produced according to times. Currently, scissors, knife and sickle are produced. The amount of production for cutlery and implements is highest in Tohoku area.
"Kaji-shou" is the brand for smith groups trying to create new design.
They are careful in selecting the technique(free forging) and materials (Blue Paper steel). They focus on modern design, sharpness and easy use.

- - - - - details
- source : www.yamagata-export.jp



- quote -
Yamagata Casting
In Yamagata city, Yamagata prefecture, there are two towns with peculiar names – Do machi and Imono (cast metal) machi. The names of these places are derived from the local specialty Yamagata Imono.



The origin of Yamagata Imono dates back to the Heian era (from 794 to 1185 or around 1192). When Minamoto no Yoriyoshi, a famous warlord during the Heian era, visited the Tohoku region to suppress a revolt (called the Battle of Zenkunen-no-eki), the imono artisans who had been brought along found that the sand in the Mamigasaki river running through Yamagata city and the soil around the Chitose park were perfect for imono. Some of them stayed in the area and began producing imono, which is said to be the beginning of Yamagata Imono. Later on, imono was presented as a tribute when Yamagata castle was built.

During the Edo era (1603 – 1868) when the life of common folk became more stable and different crafts began blooming in many parts of the country, a domain lord named Mogami Yoshiaki reorganized the castle town, gathered up imono artisans and established a town dedicated to imono, the current Do machi. It was around this time that foot-operated fans were brought in and the production of large imono items such as temple bells and garden lanterns started. As many people visited the Dewa-sanzan mountain, Yamagata Imono turned into souvenirs such as Buddhist altar articles and everyday products which rapidly spread the name nationwide and expanded its application from traditional craftworks to the production of sewing machines and automobile components. In 1974, part of the production in Do machi moved to the Yamagata Imono industrial complex, as more space was needed, and Imono machi was thus established. This is the history behind the unique names of these towns.

Yamagata Imono, which evolved from being the products of imono artisans serving warlords to everyday items in Japan, comes in a variety of forms, from large items such as bells, garden lanterns and machine components to more familiar ones like knives and frying pans. Yet every single product represents the soul of Yamagata Imono, with their accurate arrangement, smooth surface, strength and beauty.
- source : japan-brand.jnto.go.jp/crafts -


. tetsubin　鉄瓶 iron kettles - Introduction .

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. Kokeshi 山形こけし Yamagata Kokesh wooden dolls .

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. sashimono, Yamagata Sashimono 山形指物 cabinetry .

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kasen-dako 花泉凧 Kasen Kite
- (not : hanaizumidako) -


varieties:
こま凧(虎) komadako tiger　- こま凧(福助) komadaku Fukusuke 　- くらげ凧(うさぎ) kuragedako usagi 　- 角凧（蛇王丸）kakudako

This type of kite was first produced by 阿部華泉(あべかせん) Abe Kasen around 1840 in the suburb of 八日町 Yokamachi in Yamagata town.
In the local dialect they are called obata 小旗 "small flags".
The Abe family is now in the fourth generation making these kites, the present Abe san lives in 天童市 Tendo.
- reference source : pref.yamagata.jp/ou/shokokanko/110010 -

There is a legend about おせんと蛇王丸 O-Sen and ?Hebiomaru.

. tako　凧 Kites of Japan - Introduction .

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quote (seems a google translate site)

Yamagata Shikki Lacquerware (Yamagata City) 山形漆器（山形市）
Lacquerware making using a special product of Yamagata
its history from more than 300 years ago
Yamagata that lacquerware have been made from more than 300 years ago. Work of lacquerware making is, plate products wooden base positions, paint jobs, decorative, performed in the sale and division of labor, in the Taisho period referred to as the dozens of lacquerware was in the artisan town. The technique basis, without leaving a brush uneven, but show the lacquer of the gloss "flower painting" was developed, currently, the only long-established to continue the lacquerware making in Yamagata "Honke Nagato (Nagato) in shop", its own "KennoSuke of (Gon'no Yosuke) we are coating".
Traditional coating technology and
has combined modern performance "assistant coating Noriyuki authority"
Kenno Jonuri is a technique that Yamaguchi Kenno assistant's predecessor and the current 13 generations that hope revival of Yamagata lacquerware devised while repeating the trial, subjected to a hand-carved of safflower pattern on the wooden base, from the base coat in this lacquer carried out until the top coat, further sow the red iron oxide pigment "Shu蒔(main winding) will finish on top of the Law". Jonuri Noriyuki Kwon This unique technique has been popular as a tractable folk tone lacquerware durable.

- TBA -
Yamagata Tategu (furnishings) (Yamagata City) 山形建具（山形市）
Kiri-bako (box made from paulownia) (Yamagata City) 　桐箱（山形市）
Tokogei (Rattan Crafts) (Yamagata City) 籐工芸（山形市）
Kirihata-no-Mokkohin (Wooden Works made in the Kirihata district)切畑の木工品（臼）
Yamagata Nokogiri (Saws) (Yamagata City) 山形鋸（山形市）
Yamagata hitting cutlery (Yamagata) 山形打刃物（山形市）
Wa-gasa, wagasa (Japanese traditional umbrella)(Yamagata City) 和傘（山形市）
？ Kirigami (paulownia paper) (Yamagata City) ?
- source : . . pref.yamagata.jp/ou/shokokanko


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. Reference　ー 山形市 民芸品
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. gangu 玩具　伝説, omochcha おもちゃ 　toy, toys and legends .
- Introduction -

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. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

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- - - #yamagatatown #yamagata #ironware #metalware #castiron - - - - -
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Posted By Gabi Greve to Omamori - Japanese Amulets on 12/12/2016 09:59:00 am

KAPPA - Chikugobo Tengu

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. Tengupedia - 天狗ペディア　- Tengu ABC-Index .
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Chikugoboo Koorazan 高良山筑後坊
Chikugobo, Korazan Chikugo-Bo
高良山筑後坊（コウラザンチクゴボウ）A Tengu from Mount Korasan in the Chikugo region, now Kurume, Fukuoka.

He is one of the
. 四十八天狗 48 Tengu of Japan .

There is almost nothing to be found about this Tengu, only his name.
Here is some information about the region and Mount Korasan.

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. Koora Taisha 高良大社 Shrine Kora Daisha .
Also called 高良玉垂命神社 or 高良玉垂宮 Kora Tamataregu.
福岡県久留米市御井町1番地 / Kōra taisha 1 Miimachi, Kurume, Fukuoka
Kora Taisha is a prestigious, and the largest shrine in the region as the first shrine in Chikugo 筑後.
At a height of 312 meters, Mount Kora stands on the westernmost edge of the Mino Mountain Range. ... Kora Taisha Shrine, a former National Shrine and a major shrine in the Chikugo region.



筑後高良山高隆寺（御井寺）/ 高良山玉垂宮　Kora Shrine
source : biglobe.ne.jp/~s_minaga/ato_korasan

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- quote
Chikugo Province (筑後国 Chikugo no kuni) is the name of a former province of Japan in the area that is today the southern part of Fukuoka Prefecture on Kyūshū. It was sometimes called Chikushū (筑州), with Chikuzen Province. Chikugo was bordered by Hizen, Chikuzen, Bungo, and Higo Provinces.
The ancient capital of the province was located near the modern city of Kurume, Fukuoka.
In the Edo Period the province was divided into two fiefs: the Tachibana clan held a southern fief at Yanagawa, and the Arima clan held a northern fief at Kurume.
... Kōra taisha was the chief Shinto shrine (ichinomiya) of Chikugo.
- source : wikipedia

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There are many legends about Kappa 河童 the Water Goblin in Fukuoka and the Chikugo region.

Chikugo is the origin of a kind of Kappa Gaku Music, which is now an important intangible folk culture asset in Oita 大分県無形民俗文化財.
. Kappa Gaku 河童楽 "Music for the Kappa" .
and
more Kappa Legends from Kyushu 　河童伝説　- 九州
and
Oita 大分県　: 三隈川（筑後川）River Mikumagawa (Chikugogawa)


Kyushu's largest river, the Chikugogawa 筑後川 Chikugo River, runs through Kurume and makes up part of a fertile area that has long been called the Chikugo Plains.
. Kappa Legends from Tanushimaru 田主丸 Fukuoka .


. suijin 水神 water deity and Kappa legends .
In the year 901, when Sugawara Michizane was about to be murdered at the 筑後川 Chikugogawa river, the general of the regional Kappa 河童の大将 stretched out his arm to help him, but his hand was cut off.
at Kitano Tenmangu - Fukuoka 福岡県の北野天満宮



筑後の国には水天宮 / 筑後河畔の河童伝説 / 筑前と筑後
- reference : nichibun yokai database 妖怪データベース -
筑後 河童 11 legends to explore about the Kappa from Chikugo

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. Legends and Tales from Japan　伝説 - Introduction .

南筑後山村行 / 『筑後風土記』 / 筑後久留米 Chikugo Kurume
八女郡黒木町大字黒木下町（旧筑後国上妻郡黒木町） . . .
- reference : nichibun yokai database 妖怪データベース -
27 legends to explore about the region (00)

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. - - - Join my Tengupedia friends on facebook ! - - - .

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. Tengu 天狗と伝説 Tengu legends "Long-nosed Goblin" .

. - yookai, yōkai 妖怪 Yokai monsters - .

. Legends and Tales from Japan　伝説 - Introduction .

. Mingei 民芸　Regional Folk　Art from Japan .

- #chikugobo #korazanfukuoka #korasan #lchikugogawa -
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Posted By Gabi Greve to Kappa - The Kappapedia on 12/12/2016 01:17:00 pm

MINGEI - Hayachine Iwate

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. Iwate Folk Art - 岩手県　 - Introduction .
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The Hayachine region of Iwate 早池峰



Mount Hayachine (早池峰山 Hayachine-san), at 1,917 m (6,289 ft), is the highest mountain in the Kitakami Range and the second highest in Iwate Prefecture after Mount Iwate.
Mt. Hayachine is unusual in that it lies farther east than other large mountains on Honshu and the land in this area is the oldest in Japan. As such there are flower species that are unique to this mountain.
- source : wikipedia -


. Mt. Hayachine – mountain of the gods .
Hayachine Jinja 早池峰神社 Hayachine Shrine

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Kagura Dance and Music are part of the Shinto Rituals for the Gods, relating to ancient legends and were performed by priests and shrine maidens.
Now in some rural areas it is counted as a form of local art (minzoku geinoo) and preformed by the villagers themselves during the annual shrine festival.
. Kagura Dance　神楽 .
- Introduction -



CLICK for more photos !

quote
World Intangible Cultural Heritage Hayachine Kagura 早池峰神楽 ( Hanamaki City )
Kagura, or "god-entertainment," is a type of Shinto theatrical dance found throughout Japan. Kagura dancers are not professional performers; rather, they are local residents with other full time jobs, such as public employees, business owners, farmers, and carpenters. They would visit local homes and perform to pray for an abundant harvest, peace, and prosperity.

There are many versions of kagura in Iwate; the two of the most famous are Take Kagura and Otsugunai Kagura. Take Kagura, performed in the Take region where Hayachine Shrine is located, and Otsugunai Kagura, performed in the Otsugunai region, are together referred to as "Hayachine Kagura." With a history of over 500 years, Hayachine Kagura is designated as a national important intangible folk cultural property; in 2009, it was also inscribed on the UNESCO Intangible Cultural Heritage list.

The two kagura are very similar, though with minor differences in program names. Both contain about 40 programs, and end with a dance called Gongen Mai ( Buddha Avatar Dance ) . Take Kagura Gongen Mai is performed at the top of Mt. Hayachine on the opening day of the mountain's hiking season.

In the Ohasama region of Hanamaki City, Hayachine Kagura is performed 8 times a year at events such as shrine festivals. In addition, Take Kagura, Otsugunai Kagura, and Yagimaki Kagura are performed on the 2nd Sunday of each month at the Hanamaki City Ohasama Exchange Vitalization Center ( admission charged ) . Hayachine Kagura is also often invited to perform in other areas; it has enjoyed several successful overseas performances as well.

Shiki Mai
Shiki Mai is the first six dances of a kagura performance: Tori Mai ( Chicken Dance ) , Okina Mai or Shiro Okina no Mai ( White-Faced Old Man's Dance ) , Sanbaso or Kuro Okina no Mai ( Black-Faced Old Man's Dance ) , Hachiman Mai, Yama no Kami Mai ( Mountain God's Dance ) , and Iwatobiraki no Mai ( Rock Door Opening Dance ) .

Shikigai no Mai
Shikigai no Mai includes: a dance reenacting Japanese mythology; a dynamic dance for the repose of the deceased and to drive away evil spirits; a dance representing war and vengeance; a narrative dance embodying a woman's emotions and an ascetic who provides salvation for her; a unique kyogen comedy involving ad-lib interactions with the audience; and finally, the Gongen Mai Dance.
source : japan-iwate.info/app


Kagura Dance Masks from Hayachine 早池峰神楽面



大迫郷土文化保存伝習館（愛称：早池峯岳神楽伝承館）
- reference and more photos : city.hanamaki.iwate.jp/bunkasports -


. 円万寺の観音堂 Temple Enman-Ji and the Kannon Hall .
This temple is also famous for it Hayachine Kagura dance.


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source :　folkcraft.samurai47.com

Gongen Mai Statue 権現舞　
This statue, known as "Gongen San", is displayed in homes in the hope that wishes will be granted. They are carved from Ohasama-grown wood using only one chisel. The chisel is called "Tsuki Nomi".

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Seiroku Tengu 清六天狗　
from Mount Hayachine 早池峰山 (遠野物語 Tono monogatari)

He lived on the border of Hanamaki and Kawai village. 岩手県花巻市と川井村/

- quote -
One house in Tono is said to have the jacked of a tengu.
it is like an undershirt with short sleeves, and it is made from a thin, loosely woven fabric. There is an imperial family crest of sixteen-petal chrysanthemums emproidered on the sleeves, suggesting an association with political power and authority. On the body of the jacket 「天狗の衣」, there are gourd-shaped designs with the same chrysanthemum pattern in the center. The jacket is blue.
Seiroku Tengu, with whom the head of the household was once friends, wore the jacket. According to what is said, Seiroku Tengu was from the Hanamaki area. He was fond of saying that he was "The King of All Creatures".

Seiroku Tengu would always walk behind people climbing Mt. Hayachine, but surprisingly he would always get to the top of the mountain ahead of them.
He would laugh and greet the climbers at the top, saying: "How come you are all so slow?"
He liked sake (rice wine) and would usually walk around with a small gourd that was used as a sake flask. No matter how much sake was put into the gourd, it never filled up. It is said he paid for his sake with some small rusty coins that he always carried around.

In addition to the tengu's jacket, this family had also received his wooden walking clogs, which they considered valuable. The youngest grandchild of Seiroku Tengu lives in a village near Hanamaki, and people call his home "Tengu House". A girl in the house recently became a prostitute and was living in a teahouse in Tono. In the evening, no matter how tightly the doors to the house were locked, she was out walking about the town. She seemed to take great pleasure in going into people's apple orchards and eating their fruit. It is said she went to Ichinoseki and is living there now.

Folk Legends from Tono: Japan's Spirits, Deities, and Phantastic Creatures
- source : books.google.co.jp -


source : toki.moo.jp/gaten/ gate427


. Tengupedia - ABC-List .

. Tōno monogatari 遠野物語 Tono Monogatari - Legends of Tono .

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Hayachine yaki 早池峰焼 Hayachine Pottery



Hayachine Pottery is well-known for its lampshades and finely decorated lanterns.

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早池峰のつるべ落しや神の声
Hayachine no tsurube otoshi ya kami no koe

autumn sunset
in the Hayachine mountains -
voice of the Kami / voice of the Gods

下田靜子 Shimoda Shizuko
.
kami no koe 神の声 - the voice of the Japanese Kami deities, lit. voice of "God"



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. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


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Posted By Gabi Greve to Omamori - Japanese Amulets on 12/08/2016 10:01:00 am