In the middle of the Heian period, Minamoto no Yoriyoshi fought battles in this region to quell a rebellion that broke out in the Yamagata area.
At that time, foundry workers who were accompanying the military discovered that the sand from the river flowing through Yamagata City and the soil around Chitose Park were ideal for casting. Some of these foundry workers stayed in the area, which marked the beginning of YAMAGATA Imono (Metal Casting).

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. Mold making shall be carried out using the following techniques or methods:
  (1) It must be made from sand.
  (2) For the casting sand in the part that comes into contact with the molten metal, use "true clay".
  (3) The mold shall be made by "turning" or "filling" (including "wax casting").
  (4) When using a "turned mold", the surface of the mold shall be "patterned" or "textured".
  (5) Firing or drying the mold (including "surface firing").

   

  2. In the case of ironware, the surface shall be colored using lacquer and iron oxide, and in the case of copperware, the surface shall be colored using copper sulfate, verdigris, or iron oxide.

   

  3. Ironware used as cooking utensils must be treated to prevent tarnishing.

   

  raw materials

  1. The material for castings shall be iron sand or cast iron for ironware, and copper alloy for copperware.

  2. The lacquer used as a coloring agent shall be natural lacquer.

• Work scene

  Work scene

  YAMAGATA Imono (Metal Casting) iron products, despite being made of iron, somehow exude warmth and even a sense of life. This is likely because each of the more than 60 steps in their production process is imbued with the skills and meticulous attention of artisans honed through tradition.

  Step 1: Mold turning

  First, I sketch out the design of the kiln I envision on paper. The casting process begins with creating a wooden mold based on this design.
  Next, we move on to the mold-making process. Using a wooden mold, we create two molds, an upper and an lower one, on a round outer frame called a tongue-and-groove mold. The casting mold is made by rotating the wooden mold while compacting the sand.

  Step 2: Patterning and ring attachment

  The sand and clay from Yamagata, which could be said to be made specifically for casting, create thin surfaces and precise shapes. The sand and clay are rolled in layers to create the mold. Next, the part for attaching the handle ring is made and embedded in the mold. After that, the kettle maker draws hailstone patterns and other patterns one by one with a spatula. This is a task in which the kettle maker's entire attention is focused on their fingertips.

  

  Step 3: Core preparation, mold baking, and mold assembly.

  Next, sand is compacted to create the core, which will form the space inside the furnace. After air-drying, this core is fired to harden it. Then, this core is placed into the upper and lower molds, and the casting mold is completed.

  Process 4: Pouring

  Next, the iron is melted and poured into the mold. The molten iron, heated to 1,300 to 1,500 degrees Celsius and glowing red (this is called hot water), is scooped up and poured into the mold in one go through the spout. This is a crucial moment that determines the quality of the casting, and even skilled kiln makers find it extremely nerve-wracking.

  

  Step 5: Demolition, sand removal, and finishing.

  Once the iron has cooled slightly, remove it from the mold and gently tap it with a small hammer to remove the sand core. Then, bisque fire it to create an oxide film on the surface, which prevents rust (metallic taste). After this, shape it with a file and polish the surface of the pot.

  Step 6: Coloring

  And so, the work finally enters its final stage. Using a special brush called a migo brush, a base coat of genuine lacquer is applied to the surface of the kettle and baked on to prevent it from peeling off. After this, ohaguro (blackened teeth) and tea liquid are applied to the surface of the lightly heated kettle in multiple layers using the kugo brush to ensure even coloring. Finally, by attaching a lid made of cast iron or bronze, YAMAGATA Imono (Metal Casting) tea kettle is completed.

  

   

  

  This traditional YAMAGATA Imono (Metal Casting) technique is called turn-type casting or general-type casting. Behind the long 900-year history of YAMAGATA Imono (Metal Casting) lies the tireless efforts of countless craftsmen who have inherited the skills, which have given rise to these techniques. We have introduced the production process of tea ceremony kettles, but this technique is widely applied not only to household items such as iron kettles and iron pots, but also to crafts such as bronze vases and ornaments, as well as to machinery and parts such as automobiles and agricultural equipment.

  

   

• Close-up

  Close-up

  A harmony of tradition and modern sensibilities: YAMAGATA Imono (Metal Casting)

  YAMAGATA Imono (Metal Casting) a long history dating back to the Heian period and is renowned for its superior craftsmanship. However, a new trend is emerging, emphasizing modernity, color, and design. Cast iron products that suit today's lifestyles are no longer just iron kettles, but truly worthy of being called teapots.

   

  YAMAGATA Imono (Metal Casting) have a 900-year history.

  Yamagata City boasts a nationally renowned YAMAGATA Imono (Metal Casting) with a history spanning 900 years. During the Kohei era of the Heian period, a rebellion broke out in this region, and Minamoto no Yoriyoshi fought battles throughout the Yamagata area to quell it. A foundry worker who accompanied him, crafting weapons such as swords and spears, discovered that the sand from the river flowing through Yamagata City and the local soil were extremely suitable for casting. Subsequently, several foundry workers settled in the area, laying the foundation for YAMAGATA Imono (Metal Casting). About 400 years ago, 17 foundry workers were gathered in one place, and that town was named Doumachi (Copper Town). This was the precursor to what we now call an industrial park.
  At that time, the number of visitors to Dewa Sanzan Shrine exceeded 10,000 in a single summer, and these visitors purchased cast metal Buddhist implements and daily necessities as souvenirs. In this way, the name of YAMAGATA Imono (Metal Casting) spread throughout Japan. After this, by inspecting advanced areas such as Kyoto, the Yamagata bronze casting technique was established, and large items such as temple bells and lanterns began to be produced.

  

  YAMAGATA Imono (Metal Casting) even gives you a feeling of warmth

  We strive to create products that match modern sensibilities.

  YAMAGATA Imono (Metal Casting) continued to develop steadily into the modern era. It was one of the first traditional crafts to be designated. Currently, a wide range of products are made, including household goods such as iron kettles, iron pots, and everyday items, as well as bronze vases, ornaments, temple bells, Buddhist statues, monuments, and other art and craft items, including interior and exterior furnishings. However, it is most famous for its tea ceremony kettles, and Yamagata is the top producer in Japan. Its design, color, shape, and technique are all highly regarded by tea ceremony enthusiasts. A characteristic of YAMAGATA Imono (Metal Casting) is its thinness and beautiful casting surface. In addition to its practicality, it also embodies the uniquely Japanese sensibility of "wabi-sabi" and the ultimate beauty found in these products.
  However, the Yamagata Prefecture Foundry Cooperative Association is not content with resting on its traditions or reputation, but is constantly seeking to create products that match modern sensibilities.

  

  Unique vases and candle holders

  Modern and stylish cast iron

  I was amazed when I visited Mr. Masuda's workshop and saw his work. He brilliantly overturned the impressive but somewhat heavy image of YAMAGATA Imono (Metal Casting) that is often associated with "900 years of tradition" and "reliable techniques." His works are modern, simple, and elegant, with designs and colors that make you want to pick them up, like something you'd find in a museum shop or a select shop. In fact, some of his works are held in the collection of MoMA (Museum of Modern Art in New York).
  Masuda originally based his work in Tokyo, but moved to Yamagata in 1977. "I believe that creating my work in Yamagata, a production area, has broadened my possibilities and opportunities. That's something I couldn't have done if I had stayed in Tokyo."

  

  The design and color scheme are very stylish.

  Pursuing "utility and beauty"

  When creating products, Mr. Masuda pays the most attention to "utility and beauty." "Of course, it has to be easy to use, but I also want to add a high level of design quality. There are many things in the world that have declined because they have continued to cling to traditional methods. I think producers are also required to make efforts to reconcile technology with needs." He also actively uses the internet to capture consumer needs. "I expect that the internet will play an important role in manufacturing in the future as a means of communication and information gathering. The internet is vast and wide. We should make high-quality products in Japan, even if only in small quantities. It would be great if made-to-order production via the internet became commonplace. Although, in the old days, everything was made-to-order."

  We want to cultivate independent craftsmen.

  Masuda currently works as an instructor for training sessions at the Yamagata Prefecture Foundry Cooperative Association and also teaches at Tohoku University of Art and Design, dedicating himself to training successors. "It's good that the transmission of traditional craftsmanship is being re-evaluated now. Among young people, there's a trend that while web-related jobs are good, carpentry and hairdressing are also cool. From now on, it's important for craftsmen to be independent. The ability to understand and produce everything from producers to salespeople and users will be necessary. It's a shame when you put in so much time and effort to make a good product, but it doesn't reach the user."

  Manufacturing is a natural and healthy thing.

  "Even if I say something complicated, I continue making things simply because it's fun. It's like planting seeds and nurturing them; it's something very natural and healthy for me." Currently, Ms. Masuda is producing kitchenware with a popular cooking expert among young housewives, and is also working with stylists.
  Masuda's modern designs are, at the same time, made possible by traditional techniques. A long history, the experience of craftsmen, and a modern sensibility—the harmony of these three elements is the charm of new YAMAGATA Imono (Metal Casting). If more craftsmen like him emerge, the world of traditional crafts will surely expand and become even more enjoyable. We will be keeping a close eye on his future endeavors.

  

  Masuda-san applies black paint to her teeth and then bakes them.

  Craftsman Profile

  ​Hisanori Masuda

  Born in 1949.
  I have lived in Yamagata since 1977.
  Currently, he is the Vice Chairman of the Yamagata Prefecture Foundry Cooperative Association and a Director of the Japan Craft Design Association.

  

  Masuda-san is also focusing on training successors.

  Anecdotes

  The soothing sound of cast iron

   

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    Even the gigantic statue of Kannon was only possible thanks to metal casting technology.