Collection

Japan's carpentry tools vertical saw Kyotaniguchi Seibei Edo period

Taniguchi was a saw blacksmith in Fushimi, Kyoto, and had a sales channel in Kansai. It is said that production was the most prosperous during the Tenmei era (1781-1788). It retains old styles such as warped backs and curved saws, and seems to have been around the early Edo period.

Japanese carpentry tool double-edge saw "Autumn Shirabe" Tetsunosuke Miyano (2nd generation) Showa era

Tetsunosuke Miyano (1901-1996) is a saw blacksmith of Miki Banshu. He helped the family business from the age of 11, and in 1938 under the name of Tetsunosuke Miyano. It is said that he was full of blacksmithing talents and quickly surpassed his brother's ability. Throughout his life, he focused on protecting traditional techniques and communicating that technology to his composition. The double-edged saw in the photo was trained in 1954 for Kobe's master, Yoshio Sasase.

Japanese carpentry gong (Gagari) Taira Miyano (3rd generation) Showa era

The Miyano family is a famous spot for saw blacksmithing in Miki. The first Taira Jiro was said to be three people along with Jiro Nakayahira in Edo and Suzaemon Nakaya in Aizu. Since the Meiji era, carpenters have been consistently specialized in carpentry, including single-edge cutting, single-edge gongs, and double-edge saws, and did not manufacture hole grinding.

Japanese carpentry tool pressed saw Nakaya Hisasaku Meiji period

Hisasaku Nakaya was the last master craftsman of the Tamako era and lived in Koishikawa, Tokyo. It is reported that he learned the oil burning method based on the smell of tempura oil flowing from the workplace of his teacher, Taira Nakaya. It is known for its unique thick leaves called bamboo leaf inscription.

Japanese carpenter tools Daiiri Chisel Zensaku Matsubara (3rd generation) Showa era

The eldest son of the first Zensaku took over the second generation, and the second younger brother took over the third generation. It was produced from the beginning of the Taisho era to the Showa 20s. The sharpness of the chisel is outstanding, and it is said that the soft Yoshino cedar was cut and cut wonderfully. He also had an outstanding skill to train his whirlpools on the ground. Around 1953, it became known as "phantom Zensaku" after its location became unknown.

Japanese carpenter tool Edokuma's chisel Chiyozuruzehide Showa era

It was said that the tools trained by master craftsman Chiyozuruzehide were sharp but expensive to celebrate in household miniature shrine. The carpenter Edo Kuma (Kato Kuma Jiro), who knew the workmanship, wrote an order request with a long wish even though he had no acquaintance, and sent it to a copy of his family register. It is said that Korehide trained 15 large chisels in response to his heart, and worked on the train fare and went to Osaka at night. The group chisel was damaged by the war after the death of Edo bear, but they went around and were preserved in the museum.

Japanese carpentry tool Hirochiji Shigefusa (Aemon Wakabayashi) Late Edo period to early Meiji period

Shigefusa is the family of Aizu Wakamatsu's smith, which has been around since the 17th century, and his 15th eldest son, Anemon (16th generation), who trained in swordsmiths in Osaka, started hitting the blade again. Along with Kusakabe Shigemichi, he became a middleman of Aizu cutlery. Aizu has long been the center of the production of knives in eastern Japan, but has missed the modernization of production and sales, and traditional techniques have been lost.

Japanese carpentry tool Hirochiji Sahisahiro (Umejiro Kashiwagi) Mid-Meiji to late Taisho era

Hisahiro is a disciple of the swordsmith Kiyohiro who became a chisel blacksmith after the Meiji Restoration. It opened in Tokyo around 1897. Hisahiro's inscription was taken as collateral for debt, so he began to use a famous engraved with his left letter Hisahiro in the gourd. The baking of steel and attaching it to the ground gold are wonderful.

Japanese carpentry tool plane blade "Kinun Yume" Chiyozuruze Hide Showa era

Chiyozuruzehide (1874-1957) is described as an unexplored master craftsman. In 1884, when he was 10 years old, he entered his uncle, Zenichi Ishido. Shuichi Ishido, who divided his popularity into two, is a cousin. He became independent in 1893. The price was high, but it became popular for its sharpness. Known as a blacksmith of chisels and planes, he worked on various types of tools and always finished the area of art. These works are described as having sharpness and sophisticated dignity.

Japanese carpentry tool plane blade "Amyuki" Chiyozuruze Hide Showa era

A plane blade trained by legendary master craftsman Chiyozuruzehide. It is said that Korehide performed all the work by hand, and in each process, it took a lot of effort to finish one tool. It was said that he had a special interest in the materials used, and used traditional Japanese iron, which took a lot of time to sort. The reason why Korehide's tools were so expensive was probably because of this kind of trouble.

Japanese carpenter tool plane blade Shuichi Ishido Showa era

The Ishido family was a swordsmith owned by the Yonezawa clan, and turned to tool blacksmithing in 1874 due to the abolition of swords. Shuichi trained under his father, Zenichi Ishido, together with his cousin Chiyozuruzehide, and jointly studied tools for masters. Unlike Korehide, it was called "unnamed Ishido" without losing its name, but it is distinguished from other planes due to the unique shape of the comb type and arrow feather crest and its sharpness.

Japanese carpenter tool planes Yoshihiro End of Edo period to mid-Meiji period

Yoshihiro moved to Edo Hatchobori from Echigo Sanjo in the late Edo period with his brother Kunihiro, and gained fame. At that time, it was said that "the chisel is Kunihiro, the plane is Yoshihiro", and he was praised as a master of plane making. It is said that the master craftsman, Chiyozuruzehide, was also private and photographed the shape of the plane.

Japanese carpenter tool planes Kunihiro The late Edo period to mid-Meiji period

A brother blacksmith who worked with his younger brother Yoshihiro from the end of the Edo period to the middle of the Meiji era. He is said to be a master of shape making, producing flowing lines and tools with reasonable flesh, and had a great influence on future tool blacksmiths. It is said to be a master of chisel production, but the plane also has a powerful and streamlined form.

Japanese carpenter tool plane blade Yoshisaku Matsubara Showa era

A plane blade trained by a master craftsman of Kansai, Yoshisaku Matsubara (Jejiro). Zensaku had outstanding skills, but was said to have been a craftsman and an oligopo. It is said that he liked sake and saw Yoreyore's work clothes and he was walking around the town of Osaka on a rope belt, but he was lost around 1953.

Japanese carpenter tools plane blade Umeichi late Meiji to early Showa period

Umeichi is the seventh generation of Kaga Hyakumangoku Swordsmith Kiyomitsu. He moved to Osaka in 1955-6 and lived in Fukushima. At that time, he was a master craftsman who gained fame along with Zensaku. I stopped blacksmithing in old age around 1935.

Japanese carpentry equipment side-plane blade from late Meiji era to early Showa era

Umeichi is the seventh generation of Kaga Hyakumangoku Swordsmith Kiyomitsu. He moved to Osaka in 1955-6 and lived in Fukushima. At that time, he was a master craftsman who gained fame along with Zensaku. I stopped blacksmithing in old age around 1935. The photo shows the blade of a plane that cuts off the side (side) of the groove.

Overseas carpentry tools Horizontal equipment U.K. 19th century fittings craftsman 305 x 12 x 41mm

A horizontal device is used to check whether the surface or assembled state of a member is horizontal. This product has an inch scale and can be used as a measurer.

Overseas carpentry tool compass 18th century Swiss construction carpenter 490 x 260 x 62 mm

It can be fixed with screws to keep the open state constant.

Overseas carpentry tool frame saw 19th century French furniture craftsman 380 x 218 x 17 mm

By twisting the string, the saw body is stretched and used.

Overseas carpentry tools saw U.K. 19th century building carpenters 780 x 23 x 190 mm

The scabbling of the width of the saw and the way the eyes are attached to Japan. The grip is attached directly to a wide saw body.

Overseas carpenter tool tapping chisel 18th century Swiss construction carpenter 334 x 40 x 40 mm

It is used to process pits of building materials.

Overseas carpentry tool decision planes U.K. 19th century fittings craftsman 240 x 54 x 141mm

Used to cut out steps (shakuri) on the edges of plate materials. The width and depth of the step can be adjusted with screws.

Overseas carpentry tools groove cutting plane Austria 1817 barrel craftsman 248 x 340 x 140 mm

It is used to cut the groove inside the barrel to stop the mirror plate.

Carpenter tools from overseas are hanging Axe France 19th century wooden shoemakers 430 x 260 x 75 mm

Used to make the material rough.

Overseas carpentry tools ink pot The Korean Peninsula production year unknown 163 x 100 x 101 mm

Many traditional Korean ink pots consist of three parts, with a thread roll in a square or cube, a circular or spherical sumi pond in a circular or spherical, and a thread with a beast. One of the features is that the groove for storage is inscribed at the bottom and cut. The photo is based on the legendary animal Hetee motif.

Overseas carpentry tools Chinese ink pot Chinese production year unknown 216 x 148 x 113 mm

In China, you can see various shapes of ink pots. They can be classified into butt split type, one-arm type, two-arm closed type, and bottom closed type according to the structure and shape. The bottom closed type can be further divided into (a) upward type (b) single character type (c) figure carving type, etc. The photo shows an ink pot that can be classified as an uplifting type, and the elegant sculpture and the overall shape are beautifully designed.

Overseas carpentry tools ink pot Thai production year unknown 173 x 143 x 120 mm

The photo shows an ink pot collected in central Thailand with a motif of a sacred bird. Thailand's ink pots have the same structure and function as in Japan and China, but there is a tendency to emphasize the modeling of motifs, and there are other carved monkeys, frogs, and rabbits.

Overseas carpentry tools Chinese carpentry tools The 20th century China

The origin of Japanese carpentry tools seems to be in China, but today there are various differences in shape and usage. Above all, China's planes are used for propulsion purposes, so they are very different from Japanese planes, such as having a handle.

Overseas carpentry tools Chinese frame saw China's 20th century

The origin of Japanese carpentry tools seems to be in China, but today there are various differences in shape and usage. Use a framed saw to cut wood by using a saw so that you can see the saw at a glance. In Japan, in the 14th and 15th centuries when vertical saws were once introduced, a frame saw called a saw was used.

Overseas carpenter tools Iranian carpenter tools Iran 20th century

I don't know much about carpenter tools in the Middle East. If you look at the Iranian tools in the photo, you can see that the plane is influenced by Europe, but the saw has eyes for pulling and use, which is different from the European saw you.

Overseas carpentry tool Nepal Carpenter tool Nepal (Bundipur) 20th century

Nepal is adjacent to China and India, and is a country with a mixture of diverse cultures. Carpenter tools also have the influence of the Tibet culture, which was introduced across the northern mountainous regions, and the culture of the European colonial era, which came from India. The handle of the saw is Western, but it is used, and the plane is Chinese, but it has features such as being used by two people.

Overseas carpenter tools Bhutan’s carpenter tools Bhutan’s 20th century

Bhutan is a small country sandwiched between India and China. At the foot of the Himalayas such as Bhutan, northern India and Nepal, there are people who build wooden temples and dwellings. The right hand in the photo is a threadmaki and the left hand is a mallet, but it is interesting that it has a primitive strength.

Customs and literature ritual tools Edo period

The ceremony held at each milestone of construction work was one of the most important tasks for carpenters. At the time of the ceremony, carpenter tools for rituals decorated with gold leaf and lacquer were displayed on the altar to create a solemn atmosphere. In addition, since ancient times, chona, ink pot, and curved shaku have been used for ritual tools.

Museum of Customs and Literature (happi coat) Showa Period

From the late Edo period to the Meiji era, craftsmen working outdoors, such as carpenters and Sakan plasterers, began to wear them like uniforms along with belly hooks, crotch and tabi.

In the past, it was said that there was a custom of getting a new half-wear from a master or husband at the beginning of each year.

Customs and literature license Late Edo period

The construction work during the Edo period was controlled by the shogunate and the clan's work divisions, but the Nakai family, who was successful in the early days of the six countries of Gokinai (Yamashiro, Yamato, Settsu, Kawachi, Izumi) and Oomi. Was in charge of that. The carpenter in the jurisdiction was able to participate in the construction for the first time with the approval of the Nakai family, and the license proved its qualification.

Customs and literature Carpenter Tools Catalog and Woodblocks Showa Period

Carpenter tool catalogs for mail order from pre-war to post-war period and woodblocks used for printing. It is from a long-established Katori-ya that opened in Edogawa-ku, Tokyo in 1923 and continued to operate after the war. It is an interesting material that shows the carpentry tool culture of the process of changing from woodcut printing to photographic plates.

Customs and literature document transcribed book "(Secretary of Ihei Kashiwagi, etc.)" (Kiwari) 17th century written by Ihei Kashiwagi and Masatora

A secret book-style scroll that describes the method for assigning the dimensions of each part of the building (wood splitting). It was handed down to the Kashiwagi family, the master of the Edo shogunate small contractor, and there is a postscript that it was handed down to Taroemon Masatora by Ibei Masatora in 1689 (1689). The five volumes consist of "Gosho-sama", "Shrine Nobe", "Buddha Tonobe", "Monobe", and "Tonobe", and are important materials for understanding the architectural techniques and carpentry organizations of the Edo period.

Customs and literature materials Wooden board book "Carpenter Hinagata" (Kiwari Hinagata Book) 18th century

Kiwaritsu, which was the secret of the Takumi family, was published in the Edo period and became widely known. This book, which opened in 1717 (1717), consists of a set of six books, consisting of "Miya Hinagata", "Samurai Hinagata", "Tana Hinagata", "Sukiya Hinagata", "Norinori Kotsubo", and "Additional Nori". The three books, Miya, Samurai, and Shelf, are unraveling the three new dolls published in 1658 (1658), and there is no change in the content.

18th Century Tachikawa Kohei, Japanese Stereotomy Hinagata, 18th Century

Japanese Stereotomy is a technology that draws a three-dimensionally combined shape on the head while drawing a plan and inking it. In particular, the area around the eaves of the shrines and temples architecture was very difficult because the members joined diagonally and warped up, and required skill. In the late Edo period, a doll book describing the difficult Japanese Stereotomy around the eaves began to be published. This book is a brush by Kohei Tachikawa in 1764 (1764).

Customs and literature material wooden board book "Yamato picture book" (picture doll book) written by Kohei Tachikawa, 18th century

Paintings are sketches for sculptures and their patterns. In the middle of the Edo period, pattern books and Hinagata books, which collected various sketches, began to be published. This book is a representative of this book, written by Kohei Tachikawa in 1763 (1763), and consists of a total of four quires.

Customs and literature materials transcribed book "The Secret of Craftsman" (ceremonial book) Edo period

The custom of performing rituals at every milestone of construction work has been handed down to the present day, such as the ground-breaking ceremony and the upper wing ceremony, but more than 20 rituals were held in the old tradition of shrines and temples. Managing this ceremony was also one of the tasks of the carpenter's master. There are many promises in the ceremony, and in the Edo period, scrolls and template books describing the format and procedures began to be created.

19th century (first year of Meiji era) Woodcut print of customs and literature "Kimono, Food and Sumitomonouchi Family Work Yo-Eiji"

A collection of diagrams published by the Ministry of Education in the early Meiji era as a commentary diagram for schoolchildren. The works of craftsmen from the late Edo period to the early Meiji period are drawn lively. Basic carpentry work such as ink hanging using ink pots, chona hanging, saw sawing, chisel hole engraving, and plane cutting are depicted.

19th century (first year of Meiji era) Woodcut print of customs and literature "Kimono, Food and Sumitomonouchi Family Work Yo-Eiji"

A collection of diagrams published by the Ministry of Education in the early Meiji era as a commentary diagram for schoolchildren. The works of craftsmen from the late Edo period to the early Meiji period are drawn lively. It depicts wood sawing using Maebiki-oga Wide Blade Ripsaw and carpenters ink the square timber.

In the middle of the 19th century, woodcut woodcut "Flower Tower Building Kotobuki Goroku"

A multi-colored woodblock print depicting the state of the building in the form of Soroku. One of the 5 pieces. You can understand the customs of carpenters during the Edo period. At the bottom, there is a state of the construction (grouping), and at the top, a carpenter performing rituals.