Seaside landscape scenes cast in high relief decorate both the front and back sides, enhanced by raised silver inlays. All the inlays are done in the taka-zogan technique, the process of hammering the silver into grooves cut into the iron. On one side, two silver sea birds (“chidori” or plovers) skim over rough foaming waves, where inlaid silver spots sparkle as foam on the breaking crests. On the other side, a silver full moon rises above the waves, which are also dotted with sparkling silver bubbles of froth. Temples and lanterns cast in low relief appear on the distant shores. The ends of the removable bronze handle, which is also inlaid with two silver chidori, were forged into large curls that fit through the arched cast iron bodies of two kylin dragon-like creatures that form the unusual handle mounts. The inside of the bronze lid is unsigned, and the bronze finial is inlaid with silver.

Tetsubin were popular in Japan as everyday household utensils and for informal and semi-formal tea drinking. During the second half of the 19th century, tetsubin made especially as tea utensils came to be highly esteemed. They were often elaborately decorated with cast iron ornament or with inlays of copper, gold or silver. Fine ornamental tetsubin of this type were preferred by the upper classes for the sencha style tea ceremony. A common characteristic of these sencha kettles was that one side more heavily decorated than the other. In the sencha tea ceremony a tetsubin, held by the host in his right hand, is looked at by the guest with the spout pointing to the right. This is the side of the tetsubin which is usually more ornately decorated in order to enable the guest to admire the kettle’s “best” side.

Ema are often seen in Shinto shrines and Buddhist temples. The term “ema,” literally “picture-horse,” has its origin in the paintings of horses that were substituted for actual animals presented to Shinto shrines in ancient times. With the passing of centuries, the repertory of subjects for ema grew extensively. The frames of these paintings were also of wood and often had peaked outlines, imitating the roof lines of Shinto shrines. Ema were made by anonymous craftsmen and painted in a lively, spontaneous manner with bright pigments, and they exemplify the rich enduring traditions of folk art (“mingei”) in Japan. The preferred medium was carefully hewn wood planks finished with gesso, lacquer, or other materials impervious to water. Weathering often exposed some of the wood grain and faded the bright colors used by the ema painters. The result was a harmonious, tactile surface of great appeal.

Older ema like this one are relatively difficult to find today because not many have survived due to the manner in which they were displayed by the recipient shrines or temples. Usually installed high on an outside wall, above doors and windows but under the overhanging eaves of the roof, ema were tilted forward slightly to be seen from the floor below. Despite some protection afforded by the eaves, wind-driven rain gradually took its toll.

Known as “neko-men jizo” or “jizo with a cat face,” this particular type of stone welcoming cat has a long history which can be traced to an early legend involving a Tokyo area temple called Jisho-in. According to documents held at the temple, sometime during the mid-16th century there was an intense fight between two individuals: Toshima and Ota. While fighting, Ota became disoriented and stumbled upon a black cat which led him to the temple where he could recuperate. Upon regaining his strength, Ota was able to defeat Toshima. In gratitude for the little black cat which saved his life, Ota ordered that a stone jizo (a Buddhist saint) be fashioned in the shape of a cat. (A similar example can be found in Figure 4 of “Maneki Neko: Feline Fact and Fiction” by noted authority Alan Pate, the cover story in DARUMA 11.)

Originally the term maneki neko referred to a cat’s supposed ability to charm and bewitch passersby. This connotation gave way to an auspicious interpretation, and today the maneki neko symbolizes a merchant’s success in attracting customers as well as a householder’s financial good fortune. Such cats sit upright, with one paw lifted in a welcoming gesture to “beckon in” customers or good fortune. These delightful creatures exhibit a raw individuality that makes them completely unpredictable. The older maneki neko possess an innocent charm and beauty that is the hallmark of Japanese folk art. It is exceedingly rare to find them executed in stone.

Since the beginning of the 19th century, sometsuke (underglazed blue and white porcelain) has played an important role in Seto’s long ceramic history. In 1807 Kato Tamikichi, who had spent years studying the various kilns in Hizen Province, including the Arita kilns, came to Seto and started the production of porcelain. He successfully produced high fired, cobalt blue and white decorated porcelain wares, known as “Seto-Sometsuke.” By the middle of the 19th century, many other famous potters had settled at the various Seto kilns, and high grade porcelains decorated with underglaze blue designs continued to be made.

The alloy paktong also has a fascinating history. Centuries before nickel was isolated in the west, the Chinese had produced an alloy of zinc, copper and nickel which had the lustrous sheen and color tone of silver, was appreciably harder than silver, and did not tarnish in use. Many examples of this alloy have a particularly pleasing color which is silver bright but possesses what has been termed a “soul of gold.” For additional information about paktong, see our article in ARTS OF ASIA, Nov/Dec. 1992.