On an indented section of a wooden stand, a flat piece of metal is beaten with a wooden mallet so it can be bent. After this, variously shaped iron bars known as ategane are poked toward the wooden platform to create a form gradually. A piece of metal must be beaten tens of thousands of times to create a single finished work.
In this technique, lines are carved into the surface of metal and different metals are inlaid in the carved-out lines, with the differences in the color and texture of metals creating the design. There are a variety of techniques such as hirazogan (flat inlay), in which flat sheets are inlaid to be the same height with the ground surface; takaniku zogan (high mounted inlay), where material is set on a high-relief metal ground; and nunome zogan (texture inlay), in which thin metal leaf is hammered into a carved pattern.
Starting with a sheet of metal, you use a wide range of implements and beat it from both the front and the back many times to create a three-dimensional form. Some are highly pronounced three-dimensional forms, while others are shallow reliefs like those seen on brooches and kimono sash ornaments.
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On tankin (hammered) vessels and by applying the traditional techniques of chasing, mainly nunome-zogan (textile imprint inlay), OSUMI captures the feelings of nature with motifs of formless fl・・・