kajiya blacksmith

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. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .
. Japanese Legends - 伝説　民話　昔話 – ABC-List .
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kajiya 鍛冶屋 kajishi　鍛冶師 blacksmith

. Takadono tatara 高殿鑪 Japanese Sword making .
- - - - - including
fuigo 鞴 bellows - an important tool for melting metal
Fuigo Jinja　鞴神社 "Bellows Shrine"
kaji no kami 鍛冶神 Deity of the blacksmiths


There were different blacksmiths for various special items needed in the town of Edo.

kugi kajiya 釘鍛冶屋 special blacksmith for nails
nokaji　野鍛冶　Most local blacksmiths used to make tools for agriculture like sickles and spades.
tookoo 刀工 sword maker

. tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode .
The chests were made with all kinds of metal fittings and decorations.


source :　wafusozai.com
saiga shokunin burui 「彩画職人部類（さいがしょくにんぶるい）」より
sword maker 「（刀）鍛冶」


. kugi 釘 nail, Nagel - Introduction .


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teppoo kaji 鉄砲鍛冶 craftsmen producing Teppo guns


source : members3.jcom.home.ne.jp/6785fmqm

- quote -
Nagahama - Shiga prefecture
The skills needed to produce the kazari kanagu (metal decorations) that decorate hikiyama (fetsival floats) can be traced back to the gunsmiths of old Nagahama.
Guns, the first of which were brought by Portuguese sailors to Tanegashima off Kagoshima Prefecture in Kyushu during the Muromachi era (14th-16th centuries), soon began to be made in old Kunitomo Village in the Nagahama area.
Gunsmithing established itself in this area, and gunsmiths formed a big group known as Kunitomo Teppo Kaji (Kunitomo Gunsmiths).
Guns manufactured in Nagahama, which became a major center of matchlock production, were characterized not only by their functionality but also the beauty of their decorations. Their barrels were ornamented using an inlay technique borrowed from metalworking to create patterns by engraving and cutting off parts of the barrel and fitting another metal into the resultant grooves.
Gunsmiths from Kunitomo were invited by the townsmen of Nagahama to utilize their mastery of inlaying metal to make kazari kanagu for hikiyama. Today in Nagahama, kazari kanagu artist Kiyoshi Tsuji continues the mastery and tradition of inlaying metal.
Kunitomo Teppo no Sato Matchlock Museum - 534 Kunitomo-cho, Nagahama-shi, Shiga
- source : mtlo.co.jp/us/valueone/metal/nagahama -


source : jti.co.jp/tobacco-world/journal

Another famous quarter of the Teppo gunsmiths was in Sakai, Osaka, Teppo Kajiyashiki cho
鉄砲鍛冶屋敷町 / 1-3-22 Kitahatago-cho-Nishi, Sakai-ku, Sakai City
The art of gunsmiths was brought by 橘屋又三郎 Tachibanaya Matasaburo from Tanegashima, and soon the region became Japan's largest producer of matchlock guns.
In the peaceful times of the Edo period, they also made たばこ包丁 sharp knives to cut tobacco.

. teppoo, teppô 鉄砲 Teppo, gun, musket, matchlock, Gewehr .

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- - - - - special districts and quarters for the blacksmiths in Edo:



. Kajibashi 鍛冶橋 Kajibashi Bridge, "Blacksmith Bridge" .
This neighborhood is home to people who specialise in iron work.

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- - - - - Chiyoda Kanda Kajichoo, Kajimachi 千代田区 神田 鍛冶町


source :　gakuyaura.chesuto.jp

They use hand and feet to work. The one on the right uses his foot to work the box bellows (箱鞴 hako fuigo) to regulate the heat of the fire.


Kajiyachoo, Kajiyamachi 神田鍛冶屋町 in Kanda
This district was established in 1603.
Its Bakufu government supervisor was bakufu kajigata tooryoo 幕府鍛冶方棟梁
Takai Iori 高井伊織
who was also responsible for the blacksmith guild in the Eight Provinces of Kanto (Sagami, Musashi, Awa, Kazusa, Shimousa, Hitachi and Ueno).
Apart from the blacksmiths, there lived other craftsmen working with iron and metal, like the
imonoshi　鋳物師 metal casters
kamashi 釜師 making metal water pots for the tea ceremony - and others.
Many were re-settled by Tokugawa Ieyasu from Sunpu (Shizuoka) and also made the metal parts used for the many buildings in the growing town of Edo.
It was the center of the kinzoku koogyoo 　金属工業 metal industry in Edo.

The Fuigo matsuri 吹子祭 , 吹革祭 Festival of the Bellows was celebrated in these quarters with extra fervor and joy.


CLICK for more street signs!

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Minami Kaji-machi　南鍛冶町　 South blacksmith's village



Kanda kanamono doori 　神田金物通 street of the metal workers


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Blacksmith Divinity - Okinawa
Studies related to blacksmithing in Okinawa have taken multi-angled approaches, i.e.archaeological, historical, folkloristic, and also industrial and technological histories. Since iron is not produced in Okinawa, the development of steel making and blacksmithing techniques lagged behind other advanced areas. Thirst for iron and its riches may have well been the source for Okinawan legends regarding the advent of iron and blacksmithing techniques. Seemingly, however, it remains presumable, only through folk tales, as to when, from where, and how the aspired skills in steel making and the art of blacksmithing came to Okinawa. Thus further archaeological progress is needed in the study of this issue. On the other hand, preceding folk studies have taken up a wide range of themes including Yago (屋号)---occupation and/or location-based household nicknames, which may refer to a physical feature unique to family members, toponyms, annual ceremonial festivals and community events, such as bellows festivals, traditional songs, ballads and legends. However the availability of a detailed description of blacksmith divinities remains limited to date.

In Okinawa, ex-blacksmith families own most of the “blacksmith divinity” images. These are mostly in the form of hanging scrolls. Okinawan Blacksmiths{by Hiroaki Fukuchi (福地曠昭) Kaifu-sha 1989} has numerous remarks from blacksmiths interviewed. However, description of the images themselves remain scarce. Quoted below is Mr. Koji Asaoka (朝岡康二) refering to Akaya (阿嘉屋), one of the blacksmith families, which once flourished in Kumoji, Naha:

Originally, the balcksmith family Nareira (宮平) headed the “Mindakari (新村渠) Kanja (Blacksmith) Family”. Akaya, a family of court painters, up until the great-grandfather’s generation, joined Nareira in the mid Meiji Period (latter 19th century), whereby Akaya acquired the blacksmithing technique to reestablish itself as the blacksmith family Akakaji (阿嘉鍛冶). The first master of Akakaji painted and gave out freely many hanging scrolls with the Blacksmith Divinity image to his fellow workers. He had a natural talent for painting, as his ancestors used to be court artists. Although many of these hanging scrolls have been scattered about and lost, several former blacksmith families in Okinawa preserve them. The blacksmith divinity hanging scroll uses the complete mainland style that you would find in Kanayama-ko (金山講) hanging scrolls used in blacksmiths’ self-support gatherings i.e. Kanayama-ko, Japan. In short, Kanayama-sama (金山様) divinity is painted in the center, as Yokoza (横座) the bellow operator sits on the left, while Sente (先手) the assistant sledgehammer swings down from the right. Excluding minor differences, the basic composition was shared all over Japan. Notably, however, the blacksmithing images (Mainland Japanese style) are completely irrelevant to the blacksmithing procedures practiced in Okinawa.

In Japan, the Kanayama-sama divinity hanging scroll would be found in alcoves (床の間) on occasions of Kanayama-ko self-support gatherings. In Okinawa, however, the image is believed to have been used in annual bellows festivals, as self-help groups equivalent to the Kanayama-ko were never formed by Okinawan blacksmiths. (Ref. Koji Asaoka, Ironware Culture of Japan-Comparative Ethnology of Blacksmith, Chapter Four: Okinawan Blacksmith and Ironware Culture, p.184)

Fuchiyue (鞴祭: bellows’ festival) is respected by Okinawan blacksmiths as the hallmark of annual events. It is commonly celebrated on November 8th according to the lunar calendar, in Japan, whereas in Okinawa it is celebrated, by some, on November 7th, or for two days (November 6th and 7th) or for three days (November 7th to 9th).
During Fuchiyue the image of the bellows divinity is respectfully placed in front of the bellows, as sledgehammers, iron holders and other blacksmith tools are put as offerings. Prayers are offered to banish fire, accidents and injury throughout the year. Special dishes are prepared and shared within the neighborhood. In some cases blacksmith families visit and worship Okuma Kanja-ya (奥間鍛冶屋), the first legendary blacksmith enshrined in Okinawa, just as blacksmiths on Miyako Island would visit Funadatedo (船立堂), the sacred praying spot for blacksmiths.

According to Asaoka, the introduction of boxed bellows from mainland Japan, more specifically Sakai, Osaka, relates, particularly, to the attachment that Okinawan blacksmiths have formed to their bellows festival. Fuigo-cho (吹子町) the bellows ”manufacturers” quarter of commercially advanced Osaka is believed to have manufactured standardized boxed bellows for nationwide distribution. Asaoka states that because many Okinawan legends of blacksmith divinities speak not only of iron and the advent of steel-making techniques, but also of the introduction of boxed bellows, this proves that boxed bellows were accepted technologically advanced devices. Bellows festivals in the Ryukyu Archipelago have maintained considerably different ritualistic styles when compared to other village festivals, such as Tanetori-sai (種取祭), seed-sowing ceremonies and bountiful harvest thanksgiving ceremonies (豊年祭). Thus Asaoka retains that Okinawan bellows festivals originated on the mainland and, once introduced to Okinawa, were quickly diffused throughout the Ryukyus.
(Ref. Asaoka, Study of Ironware Culture in the Archipelago of the Ryukyus, pp. 188, 204, 257)

Images of Blacksmith Divinity and the Goddess/God Kanayago (金屋子)
Mainland Japan

In the northern Tohoku area of Japan, during blacksmith self-support gatherings, Kanayama-ko, alcoves or tokonoma (床の間) were adorned with “blacksmith divinity” hanging scroll images. Found in midwestern Chugoku, Japan, instead, would be the “Goddess Kanayago” and pictorial stories on “the birth of steeling technique”. During the Edo period, the scrolled images and pictorial stories were worshipped by tatara steel laborers, blacksmiths and casting workers all over Japan, mainly at iron producing mines.
Blacksmith divinities in ancient Japanese myth included Hinokagutsuchino-kami (火之迦具土神), Kanayamahikonomikoto (金山毘古命/金山彦命), Kanayama-himegami (金山毘売神/金山姫命), Amenomahitotsukami (天目一箇神) and more. On the otherhand, Inarigami (稲荷神), originally a god of rich harvest, was altered to a god of fire, eventually becoming a blacksmith divinity. This occurred, presumably, through the sacred rite of “Ohitaki” (御火焚) for an abundant harvest in the Kyoto and Kinki areas.

The word “tatara” originated in India, meaning blast furnace. In Japan, “tatara” appears in the names of ancient goddesses in Kojiki (古事記) and Nihonsyoki (日本書紀) e.g. Seyatatara-hime (勢夜陀多良比売), Hototataraisusuki-himenomikoto (富登多多良伊須須岐比売命) or Himetataraisukiyori-hime (比売多多良伊須気余理比売). According to myth, Izanaminokami (伊邪那美神) had her private parts (mihoto) seared as she delievered her baby Hinokagutsuchino-kami, and was, thereafter, banished to the netherworld (黄泉). It may well be in this light that the word “hoto” frequently appears in the names of ancient goddesses. Furthermore a wind way bamboo kiro (木呂竹) is inserted from the hole “hoto” to connect the bellows to the basin of a mud furnace, whereby a correlation between “tatara” and the goddesses is also suggested.

Kanayago Shrine in Nishihida (西比田), Hirose Town (広瀬町), Nogi County (能義郡), Shimane Prefecture, is an established center of worship for Kanayago, the goddess/god of steelmaking and blacksmithing. According to the stories of her advent and the origin of the shrine (which dates back to the Edo period), a snowy egret carried Kanayago on its back and flew from Harima Province to a Japanese Judas tree in Kuroda Forest, Nishihida village, Nogi County, Izumo Province.

Since Kanayago has also been worshipped as a child-loving goddess, tatara steel workers in Kamisaibara Village (上斎原村), Tomata County (苫田郡) Okayama Prefecture, for example, are known to have shown their faith in Kanayago (originally the tatara steel workers guardian deity) by inviting children to their homes every New Year (January 1st to 3rd) to tell them the old tales and legends. (Ref. Akinori Maruyama ,“Goddess Kanayago and Children: Folklore from a Tatara Village”)

In contrast, Kanayago’s hatred of adult women (who menstruate and bare children) was a source for the taboo against menstrual blood (赤不浄) as a symbol of uncleanness. However it is frequently noted that the uncleanness of death, which is symbolized by the color black (黒不浄), was readily accepted or even favored in these legends.

Mandarin oranges were believed to have been an offering at the bellows festival, much like as done by public bath owners and glue makers, each of whom were fire-relevant by trade, who gave away rice cakes and oranges to children. According to a legend in Yamaguchi Prefecture, an ugly one-eyed blacksmith deity got away from a barking dog by climbing up a mandarin orange tree.Fierce concentration at their furnaces frequently cost tatara steel workers the loss of an eye. The fact created one-eyed blacksmith divinities legend which in its turn are considered to have been diverted to single-eyed ogres of legend, oni (鬼). It is, presumably, in this context that toponyms such as Onimura (鬼村) and Onigashiro (鬼ヶ城) are often located close to iron mines.

Mandarin oranges were believed to have been an offering at the bellows festival, much like as done by public bath owners and glue makers, each of whom were fire-relevant by trade, who gave away rice cakes and oranges to children. According to a legend in Yamaguchi Prefecture, an ugly one-eyed blacksmith deity got away from a barking dog by climbing up a mandarin orange tree.Fierce concentration at their furnaces frequently cost tatara steel workers the loss of an eye. The fact created one-eyed blacksmith divinities legend which in its turn are considered to have been diverted to single-eyed ogres of legend, oni (鬼). It is, presumably, in this context that toponyms such as Onimura (鬼村) and Onigashiro (鬼ヶ城) are often located close to iron mines.

Images of the Goddess/God Kanayago 金屋子 are largely categorized into the following three styles:
A) A Goddess on a Fox



A goddess in a Chinese dress, wearing a long, thin scarf (領巾) rides on a white fox, with a sword in one hand and a gemstone in the other. In other instances, she may have a magic cane, or wear a jewelled crown and armor, holding a pouch in one hand. The fox wears a jewel in its tail, and may sometimes have a hoe in its mouth. The goddess in Chinese dress, who wears the long, thin scarf (領巾) and carries the sword and gemstone, resembles, in appearance, Dakini (荼吉尼天), the harvest divinity. However Dakini is recognized as the original Buddhist form (honji 本地) of Inari-gami in accordance with the philosophy of honji suijaku (本地垂迹) a theory expounding the correspondence of Shinto and Buddhist deities. Imaginably, Inari-gami and Dakini, both of whom came to be accepted and worshipped as fire and blacksmith divinities, could have been confused to be represented both in the same scene.

B) A Goddess and Two Attendants (Male and Female)
Mainly found in hanging scroll images, which depict the story of the origin of Kanayago Shrine or scenes of steel-making and blacksmithing. Frequently a long-haired woman in sacerdotal kimono, attends a holy area located close to a mountain top and sanctified with a set of hallowed straw ropes (注連縄). A lady of the court in a red hakama and over-robe would be found on the right and a nobleman on the left, both may be standing or seated, ready to serve the goddess. A white fox may accompany the two attendants. At the foot of the mountain, there is a smith’s yard with the foot-pedaled bellows humming with steeling and refining. Court-attired noblemen and blacksmiths (in their medieval hats, eboshi, and aprons, hitatare) would be found laboriously at work.

C) Sampo-kojin (三宝荒神) Image
A series of monochrome hanging scrolls in wood block print, which Kanayago Shrine issued and distributed from the end of the Edo to the early Meiji periods, would find the Kanayago deity seated on a lotus pedestal as Sampo-Kojin. In northern Tohoku, Sampo-kojin as a standing figure is frequently painted on hanging scrolls as a blacksmith divinity. Composition-wise, Sampo-kojin often stands erect on the boxed bellows and blacksmiths are working underneath. Oni, the ogres, are also at work in the smith’s yard, sending wind to the bellows or hammering down as Sente, the assistant hammers.


source :　xxx
金屋子神 - 出雲の伝承 Deity Kanayago from Izumo

Okinawan Images of Blacksmith Divinity
The four blacksmith divinity scrolls that we were able to view during our field studies in the Yanbaru (山原) area, northern Okinawa, had basically the same composition, although they differed in the details. They belong to Type C, as mentioned above, in which the blacksmith deity is expressed as Sampo-kojin (三宝荒神). Furthermore, the four scrolled images show three Oni (鬼), ogres, that are assisting as Sente (先手), a woman in kimono, who is operating the bellows as Hakozashi (箱差し) or Fuigozashi (鞴差し) and a man wearing formal headwear (烏帽子) and an apron (直垂), working as Yokaza (横座). During the forging of iron, the boxed bellows would be found in totally different positions in Mainland Japan, Okinawa and China. At least in the latter medieval period (the Kamakura and the Muromachi eras) in Mainland Japan, it is believed to have been a common practice that Yokaza alone, without Fuigozashi, operated the bellows.

On the other hand, it was a characteristic on Okinawa to have Fuigozashi sit behind Yokaza and operate the boxed bellows, as Yokaza worked without touching the bellows. The first job that an apprentice, in an Okinawan blacksmith’s yard, would be assigned to was Fuigozashi. If so, even though Meuchi (前打 i.e. Sente) and Yokaza are painted in different positions, the four hanging scrolls do not contradict with blacksmithing practices in Okinawa, because they depict how Yokaza and Fuigozashi played distinguishable roles from each other, as Asaoka indicates. Most hanging scroll images from Iwate and Gifu Prefectures (Mainland Japan) have also been found to differentiate between Yokaza and Fuigozashi.

However, the female Fuigozashi (bellows operators) that are in blacksmithing images in hanging scrolls from Okinawa (fig.21,23,24) are rarely found elsewhere. As we have discusssed, most blacksmith divine images in Okinawa are believed to be copies of the originals (that are presumed to have their roots in, and have come to Okinawa from, Mainland Japan, or have been drawn, relying upon information that had been passsed on by word of mouth. Akakanja would have made models of such originals for the many blacksmith divinity hanging scroll images that they created. It is, therefore, not totally deniable that changes might have been made by the painters to reflect more of the real blacksmithing practices in Okinawa.

Although the three headed Sampo-kojin-like figure was depicted frequently as the blacksmith deity in the hanging scrolls that we viewed (fig.24), the balcksmith deity in Okinawa is also imagined as a goddess at times(fig.23). It may be possible to assume the influential role that the myth of the Goddess Kanayago from Izumo Province had while crossing over the sea to Okinawa. We found an example in which a Sampo-kojin-like Blacksmith Divine is represented by three female faces while wearing feminine clothing, whereas Sampo-kojin should be represented by wrathful faces. This image was likely adopted by local painters to fill the gap between the faith of the people and the diffusion of painted images.

Did the images of blacksmith divinities accompany the bellows when they were introduced onto Okinawa from Mainland Japan, or could the images have possibly taken different routes? The question entails further progress in these studies, as well as the discovery of more blacksmith divine images from Okinawa which have hitherto been unseen.

The widespread practicing of bellows festivals was, presumably, fueled by the orders and policies issued by the royal government of the Ryukyus, according to Asaoka (Ironware Culture of Japan--Comparative Ethnology of Blacksmithing, p.257). Blacksmith divinity scrolls could well have been one of the most significant ritual tools that popuralized the bellows festivals. In the 20th year of the King Sho Shitsu (尚質: 1667), the dynasty of the Ryukyus started the “Stationed Blacksmith System” (在村鍛冶制) administered by Ko shoken (向象賢). As Kaji-yaku (blacksmith officials) assigned to villages were non-craftsmen, the system is considered to have spurred the presence of Akakanja and other specialized blacksmith families, as well as that of traveling blacksmith (廻村鍛冶) which was to emerge later. The roles of the Kaji-yaku are assumed to have shifted from blacksmithing to the management of the bellows festivals and smiths’ yards. (Ref. Asaoka,Ironware Culture of Japan-- Comparative Ethnology of Blacksmithing, pp. 152, 193, 224, 249).

In Okinawa the blacksmith divine is worshipped at many uganju (praying spot). Also blacksmith tales are sung in ancient ballads like “Kajiyadi Fu”. Believed to have brought forth the advent of farming with iron farming tools, the balcksmith divinity is also identified with the farming deity. (Ref. Hiroaki Fukuchi, Okinawan Blacksmiths, pp. 255 to 266). According to legend the Kunigami Aji (国頭按司 chief of Kunigami Village), Kaniman (金万・金満), who was the second son of Okuma Ufuya（奥間大親）, the head of Jana Village in the Urasoe quarter, and a younger brother of King Satto (察度王), was believed to have founded the Okuma Kanja Blacksmith family. For helping Kanemaru (金丸), the future King Sho En (尚円), Okuma Kanja was said to have had his second son authorized as Kunigami Aji. The presence of Okuma Kanja continues to date as the ancestor of all Okinawan blacksmiths. Having the power attained through blood-related Monchu (門中) clans and the privileges, such as tax exemptions, and abounding riches, received through such ties, this glorious story of how one family member was promoted to Kunigami Aji is considered to have been suitable for the descendants of blacksmiths. Furthermore, they connected the legend of Okuma Kanja to the myth of the farming divinity and the advent of farming, through which Kaniman was, likely, idealized and idolized as a great ancestor and founder of blacksmith families. Today, Kaniman Aji and his wife are enshrined as founders of Uekaneshi Tunchi (上兼次殿内) or Kaniman Tunchi (金万殿内), in Kaneshi, Nakijin Village (今帰仁村), where the image of the blacksmith divinity has been traditionally recognized as that of Kaniman-sama(fig.35).

References: . . .
- source : okinawazuzou -

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- - - - - H A I K U and S E N R Y U - - - - -

里並に藪の鍛冶屋も祭哉
satonami ni yabu no kajiya mo matsuri kana

even in the village woods
the blacksmiths celebrate -
festival of the bellows
Tr. Gabi Greve

. WKD : kigo for kaji 鍛冶 blacksmith .


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. Japanese Legends - 伝説　民話　昔話 – ABC-List .



........................................................................................................... Kyoto 京都府

Inariyama 稲荷山 Fushimi Inari Shrine　伏見稲荷神社
All the blacksmiths of the region come here to worship.
Once the 三条宗近の鍛冶師 blacksmith Munechika from Sanjo had a dream given to him by the 土祖神 local deity. If he would take the earth from Inariyama and mix it with the water for the blade (刃の湯) he would be able to make wonderful sword blades.
When he did as told in his dream, indeed, his sword became quite famous as Kogitsunemaru 小狐丸.
Now all the blacksmiths and 金物師 metal workers come here to worship.


稲荷山 小鍛冶。刀匠・宗近が稲荷の使いに相づちを打たせ、小狐丸という名刀を作り上げた。
by Ogata Gekkō (1859-1920)
- - - More in the WIKIPEDIA !


"Imayo Kokaji”Sanjo Kokaji (Swordsmith)
. Azuma Odori 東踊 Azuma Dance .




........................................................................................................... Yamagata 山形県
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南陽市 Nanyo City

. blacksmith making a kanabo 金棒 metal stick .


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- source : nichibun yokai database -
鍛冶屋 (36) / 鍛冶 (24) - collecting

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