Traditional Crafts End When They Stop Evolving. Creating Pewterware that Delights in Every Era.

Pewterware is made from tin (suzu), a soft material with a low melting point of 230°C. When you hold a piece of pewterware, you can feel the weight and warmth of the pure metal in your hands. Thanks to its high thermal conductivity, it retains the temperature of drinks, keeping warm sake from cooling down and cold sake from warming up too quickly. It is also said to mellow the flavor of the sake. Pewterware can be polished to restore its beauty, making it an object that can last a lifetime. Depending on how it’s cared for, pewterware can take on a soft, silvery luster or develop a darker patina – part of the appeal is enjoying how it changes with age. The pleasure of taking care of an object that changes over time is also attracting attention from younger folk seeking authenticity.

Pewterware was introduced to Japan around 1,300 years ago and was used for court utensils and sacred objects in shrines and temples. During the Edo period (1603 – 1868), it became popular among ordinary people as well. As a trade hub, Osaka attracted artisans from Kyoto and the area developed into a major centre for pewter production.

However, during the war, tin became difficult to obtain and the industry was devastated. After the war, the increased use of plastic further pushed pewterware into obscurity. Nevertheless, a number of workshops revived their craft, and the techniques passed down since the Edo period continue to this day. One such workshop is Osaka Naniwa Pewterware, whose work is recognized as authentic Osaka pewterware.

Artisan and businessman, Tatsuaki Imai explains, “Tin is difficult to process by machine, so we still make everything entirely by hand. We have 23 artisans, ranging in age from their 20s to 70s, each specializing in a different part of the process. Demand for pewter tumblers and sake vessels has grown so much that we can barely keep up with production.”

The production of pewterware involves many specialized techniques: “casting”, the process of pouring melted tin ingots into moulds; “lathe turning”, using a metal lathe to shape the item and polish the surface; “soldering”, attaching spouts and handles using pewter solder, which has a lower melting point than the base metal. Other techniques include applying lacquer for colour, hand-painting designs, and hammering patterns onto the surface. The entire pewterware-making process is infused with these unique skills.

Some of the techniques can only be handled by skilled artisans, but there are tasks that even newcomers can take on. Imai-san starts young artisans off with tasks they can manage, then gradually raises the level of difficulty of the assigned tasks. In so doing, young artisans develop their skills quickly. He also proactively seeks to hire new graduates, and says that the workshop is welcoming two new apprentice artisans this spring.

“There are plenty of young people who want to become craftspeople. I don’t feel that we’re lacking successors at all. If company presidents could redirect their salaries to invest in young craftspeople, it should be possible to train them properly. By incorporating the fresh perspectives of the younger generation, we can create new products that fit today’s world. When we make things that match the times, demand will grow, and that’s how we keep our traditions alive for the next generation.”

Imai-san is always eager to develop new techniques and products. It’s common for him to take on bold ideas, such as combining pewter with different materials like black rosewood or cedar, incorporating inlay work and techniques from Wajima lacquerware. He also assists pewterware makers from all over the country by providing technical expertise to help bring their new product ideas to life. Through these efforts, he contributes to revitalizing the pewterware industry as a whole.

“Making things that surprise people is fun! When you have that kind of approach, employees enjoy their work too. Traditional crafts die if you stop evolving because doing nothing and just maintaining the status quo means falling behind. Even small steps forward allow us to keep going. We’re just the caretakers at this point in a long tradition, and we can’t be the ones to let the craft die out.”