Tokyo GinkiTokyo Silversmithery

It was in the middle of the Edo era, and it was beginning of "Tokyo Ginki" that silverware craftsman called silversmith (we do and do Gane) and decoration craftsman called Master metalworking to make comb, ornamental hairpin, God interest (mikoshi portable shrine) metal fittings appeared as creator of cloth for instrument which profiler engraved.
Backgrounds where Master these metalworkers was brought up in the Edo era include existence of mint of gold coins under the direct control of the government of Edo, Ginza making money, politics economy that each daimyo gathers again, leading thing of culture.

This craft began during the 18th century with the emergence of three kinds of skilled workers of precious metals. First there was the shirogane-shi, who fashioned articles that were then skillfully chased by masters of this technique; and then there were skilled metal workers who made such things as combs, hairpins (kanzashi) and the decorative metal fittings for the portable shrines or mikoshi.
The gold and silver mints in Edo contributed significantly to raising the level of skills of such artisans. Moreover, Edo was the center of politics, finance and culture, and were feudal lords were required to live for long periods. Consequently, silversmithery in particular developed with their patronage. Nowadays, many fine articles are being produced, mostly to traditional patterns.

A confluence of so many skills, Tokyo Ginki is of the highest quality, the epitome of beauty and durable besides. Also, because it is not made of a harmful substance, it can be used for so many kinds of containers, ornaments and other everyday household articles. Both wrought and chased articles are made. There are silver tea caddies, sake flasks, flower vases, ornaments and many other small household articles being made.

  • Notification

    skills and techniques

    Molding is thing by any of the following.

    When you encounter beating metal, mold metal by manual labor using hammer and metal fittings.

    When you look good with "spatula diaphragm", you hit shoe tree with metal, and you turn shoe tree, and narrow down by manual labor using spatula stick.

    Thing by "tin charge account" "crimps" or "tack stop" "silver solder charge account" when we join parts.

    When do decoration, thing by any of the following.

    When "you defeat wood block" and look good, perform using hammer or graver by manual labor.

    When encounter metal engraving, thing by manual labor.

    When is in setsu*, "beating down the opponent's bamboo sword and giving him a men" of design and "crest gold structure" are things by manual labor using coping saw or chisel for inscribing a sword. In addition, crest iron loses silver solder charge account.

    When it is on plating, we assume "lacquer inlaid with gold plating" to carving valley.

    Use "the stew method" or "Kaneko beauty liquid" or "tongue van old beauty liquid" for geosuru case in color.

    When you are to thing which you molded by "spatula diaphragm", do decoration.

    Raw materials

    Basis material of metal assumes silver, and it is said that silver purity is more than nine hundred and twenty five-1000ths.

  • Work scenery

    Metal called silver is soft, and it has big features not to get rusty with luster that it is easy to process. We make up three-dimensional form by knocking on one piece of silver board using mallet and strap. The technique has many things to be transmitted through from Edo period, and there is forging, metal engraving, setsu* (kiribame).

    Process 1: Forging

    1.We heat metal and soften and make it easy to process (grow).
    2.We calculate dimensions of work, and injury lets you creak with compasses to silver board at necessary area. We cut thing of round form with scissors in circle (metal dori). In the case of incense lamp, propose foot; locate.
    3.When we make circular thing, we drive silver board into hollow of expectation stand made of zelkova in expectation, wooden hammer little by little and do into a plate form. Then, we mold using hammer and strap (mallet diaphragm). We use strap and mallet properly according to stage of mallet diaphragm.
    4.We are firm, and metal which became hard grows in gas burner and continues beating carefully and narrows down metal in spite of being straight shito da chio repetition.
    5.After constant form could be regulated well, moyoda chioshimasu. We drive handle attached to hammer including rock, mat eyes, basket eyes, carapace of a turtle crest beforehand.

    Video is played when we click image

    Process 2: Metal engraving and setsu*

    Metal engraving (technique carving design with graver (graver))
    1.We draw design and copy to unsized silk paper (gampishi) and stick on incense lamp not to break design. We put fat (nicotine) inside of incense lamp to be easy to drive graver.
    2.We leave mark with graver so that design does not disappear and make mark when we carve (we hit needle).
    3.We let design emboss while using various gravers properly by technique.

    setsu* (we clip out design part of kiribame = metal, and * (is) me crowded technique with different metal there)
    1.We grow silver board and flatten on anvil (run-in work).
    2.We stick unsized silk paper which copied original drawing on silver board and cut off design part of metal.
    3.We hit part which we cut of metal with other metal and we do marking gauge and cut. For example, we use brown that is copper and alloy of money if we express copper, black if we express brown. Thing gold (Gane) means metal expressing color in this way.
    4.We fit small design in metal. It is delicate work to concentrate nerve on finger-tip, and to perform.
    5.We paint place where we fitted thing gold o with borax (hosha) and do silver solder (rou) charge account. As the metal degree to improve to fit is different from metal, it is work to need mastery of skills. We sharpen part which swelled of silver solder with file and smooth off in whetstone more.

    Video is played when we click image

    Process 3: Finish

    Stew finish
    1.We hang grind in small Suruga charcoal of particle carefully that incense lamp which we cut and have and did gives color and does. We care for dough with polishing sand, sodium bicarbonate and take out silver skin.
    2.We are about to repeat kana storm delete luster of dough (we damage and beat) and give chaste refinement peculiar to silver.
    3.After caring for in sodium bicarbonate and powdered antler, and having taken oxide film in ume vinegar, we dip into juice of grated radish. We are effective in getting rid of uneven coloring in this. After ranking broth which dissolved copper sulfate and copper green rust in water, and being accompanied by color, and having done, we wash in water elaborately and finish (stew-colored reckoning).

    Kaneko beauty (kinfurubi) finish
    1.It is polishing sand and sodium bicarbonate and takes oiliness and we care for dough enough and provide skin of metal.
    2.For storm of coarse emery powder, we hang gold storm next.
    3.We make Kaneko beauty liquid. We put metal in the mixture of nitric acid and hydrochloric acid and we heat up and make gold chloride and we can enter and do methanol with A liquid in this. We put iodine in the methanol and, separately from it, make iodo and assume this B liquid. By article to make, we mix A liquid and B liquid moderately. We apply metal with cotton which let this soak and let you expose to the sun and expose to light.
    4.We care for the silver skin which turned black with powdered antler and sodium bicarbonate. We express delicate atmosphere including the light and shade, three-dimensional impression, perspective of design carved with and finish while taking overall condition.


  • Close-up

    Solid, bitter good life tool, Tokyo Ginki

    Silver product which lets gaudiness such as money hides deep taste in dull light though there is not and feel even warmth. Silverware which is formed while kicking out net net board is life article which is harmless, and lasts a long time at the same time to be elegant industrial art object. And it adds to texture so as to use.


    From two-dimensional plane to three-dimensional space

    Rhythmical sound that tongue tongue tongue tongue Tanta tongue - - metal and mallet play is comfortable in ear. We propose one piece of silver board using mallet and strap and make up three-dimensional solid from two-dimensional plane. It is besides attractive creative work to need perseverance enormously.
    The history of Japanese and silverware is unexpectedly old, and silver tableware has already appeared for documents of Heian period. With development of tea ceremony of the Muromachi period, silver teakettle or jujube (jujube) came to be made afterwards. But, what was able to use it only as for some upper classes. It enters Edo period, and it is after that silverware went down to the class of people at large. Technique of the Edo era is inherited ceaselessly, and life article or accessories such as tableware and tea set, vase are made now at each site in Tokyo.

    • Nobuo Kasahara during mallet diaphragm work. Various tools for forging are put in room and are overwhelmed unintentionally

    • Plate-formed thing of the left edge is finished for the completion such as the right-side end through mallet diaphragm to near form

    Because the whole industry improves, craftsman individual improves, too

    The second generation when Nobuo Kasahara who set up residence in Hongo, Bunkyo-ku succeeded the making of silverware from father. We entered this world extremely naturally since childhood as we were brought up while mentioning business all the time. Kasahara says that demand for silverware of Tokyo changes with the times.
    When "there was the Operation Army, right after war, sets of coffee and tea were selling like hot cakes. Even if studio of any place works through the night; oi itsukanaiguraidatta. In the days of rapid economic growth, golf cup sold well. Well, what is demanded from now on??"
    At the present as if passage of time accelerated, wave of introduction of IT surges against all world surely. It is pet theory of Kasahara we catch wave of the times precisely, and to utilize PC effectively.
    "Craftsman each person must be able to put homepage and link of association with homepage. Then wholesale dealer and new product reclamation for online sale by the other route are necessary, too. Of course we push person aside and should not be way of thinking only as for oneself. Feeling to become good is important for oneself because the whole industry improves."

    Kasahara loves to play with PC, and even PC lesson of association acts as lecturer. "Convenient tool conjugates and wants to activate the whole industry"

    Joy that antique revives by own work

    Everyday work of Kasahara pushes forward work to flow of division of labor system plainly to some extent. It faces each other, and held exhibition is fancy place every year. Because we deal with all from design to finish by oneself, it is work which was full of thought rather than product. In addition, there is work called reproduction of national treasure, too. We undertook lacquer box of Mishima big shrine (Shizuoka), reproduction work of okikuchi (get up Sciaena albiflora) including jewel box of Izumo Taisha Shrine (Shimane) so far.
    "We are excited about chest that antique revives by own work across space-time. How should I say..., we feel non-everyday fun."
    It is important for selling and is important for bai rutamedakedenai work, and the pivot will be to have them in a good balance.

    We criticize net net patiently

    Living that manages silverware, and is rich truly

    There is person to give a wide berth when silver becomes black unexpectedly. But, when do not become black at all if use every day, and do even care properly; Kasahara.
    "Element of assets is high whether money is called element of ornament. But silver is valid if we use. Restoration works, too, and is new; is finished. We want you to depreciate more and more."
    The first best having visitor please for Kasahara.
    "Chest becomes hot when we stand for 2, 30 years, and visitor uses thing which we made in house in the past for repair carefully like that when we brought."
    Words to introduce charm of person into have toiu metaphor such as "having a latent power". Is not showy, gorgeous image, but being heavy and solid presence. It is just common to charm of silverware. We obtain good article which is not cheap at all and manage by daily livings and we care for properly and use for a long time. It will be originally that there is not without a space of time to have good thing. Key in search of true rich way of life may be covered in the neighborhood.

    Under care for work. If "you use silverware, taste is given, please use more and more"

    Craftsman profile

    Nobuo Kasahara (kasaharanobuo)

    It was born in 1941.
    Though "we like foreign brand, young person wants you to know that there is silver product which is good for Japan by all means. Is there reimportation operation, too?"


    In Tokyo Ginki, Japanese fine sensitivity breathes

    As for the silver product, person of young generation may remember European brand reflectively. But that silver product was made using technique in Tokyo having been continued since the Edo era; "Always dark at the foot of the lighthouse." In Tokyo Ginki, few warmth, seasoning only in Japan are felt to imported European product. For example, it was pasta dishes, but seasoning using tomato and red pepper was main in home Italy, but we entered Japan, and pasta of soy sauce flavor was performed creation of. There should be sense of the seasons and fine sensitivity that only Japanese understands although living westernizes. It may be Tokyo Ginki which after all it is Japan to be familiar with Japanese house (but even Japanese-style room is Western-style room), and was made.

    • Vase that we hear the murmuring of mountain stream, and spray seems to splash

    • Bottle and cup set that snail seems to begin to move at any moment (Kanto trade and industry chief of the bureau Prize receiving a prize)



Industrial art object name Tokyo Ginki
Phonetic symbol toukyoginki
Classification of industrial art object Metalworking product
Main product Tea set, bottle and cup, vase, ornament, accessories
Main production area Tokyo / special ward (except Minato-ku), Musashino-shi, Machida-shi, Kodaira-shi, Nishitokyo-shi
The designation date January 12, 1979

Contact information

■local production associations

Tokyo gold and silver device industry cooperative association
2-24-4, Higashiueno, Taitou-ku, Tokyo
Tokyo Ginki hall
TEL: 03-3831-3317
FAX: 03-3831-3326

■We visit production center from foreign countries
Tokyo Ginki - production center visit article

■Associated exhibit space, facility


Tokyo Ginki which should be called the best of metalcraft lasts a long time with beauty, and, besides, instrument, ornament, accessories are used in various fields of everyday life because they are harmless. Product of "metal engraving" to carve Fumi with mallet (soil) using "forging" (forbids sputum) to propose and graver is made.

Tokyo ginki could be said to capture the true essence of metal working. It produces elegant and long-lasting products, and because silver is completely safe, the products are found in all aspects of daily life: utensils, household ornaments and knick-knacks, and personal accessories. Tokyo ginki includes both hammered silver products and those with engraved patterns and designs.

How to make

We hit silver with mallet and forge and make form of instrument with one piece of silver board and perform surface decoration. Decoration follows Fumi such as circle mallet eyes (marutsuchime), mat eyes, rock eyes using hammer (hammer) for design reckoning. In addition, there is thing giving sculpture using graver.

A pure silver bar is first hammered into the desired shape, and then decorative patterns are applied. Decorative hammered patterns include rounded-hammer patterns, rush-mat patterns and rock-like textures. A chisel is also used to apply carved and engraved decorations to the silver.

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