Nisshin Kikinzoku: Upholding a 400-Year Silversmithing Legacy

Tap, tap, tap... Peeking into the workshop, one is greeted by the comforting rhythm of metal being hammered. In the quiet space, Yoshitsugu Kamikawa is engrossed with a piece of silver. He is a master craftsman of silverwork, known as a shirokaneshi (silversmith).

The company was established in 1964, the same year Tokyo hosted the Olympic Games. The name Nisshin Kikinzoku embodies the hope for daily growth amid Japan's period of rapid economic expansion.

The history of these silversmiths is long, with roots tracing back 400 years to the Hirata school, who served as the official artisans to the Edo shogunate. The lineage began in Owari Province with Hirata Donin, a silversmith specializing in shippo (cloisonné), and came to exclusively produce personal adornments like silver kanzashi (hairpins) and decorative elements for armor.

Yoshitsugu: "My grandfather, Ichio (Soshō), was the foremost apprentice to the ninth head of the Hirata school, Hirata Sōdō. At the time, the school had no heir, so Nisshin Kikinzoku shouldered the responsibility of carrying on the lineage of the prestigious Hirata school. We've continued our craft while feeling the profound weight of that tradition. I myself am the 12th generation silversmith in this line."

The skills of the shirokaneshi have been honed throughout history. Yet, this history has been a constant cycle of adapting to the times while preserving the unchangeable core of the craft.

Yoshitsugu: "We have always been searching for the kind of silverwork that each era demands. Take the time of the eighth head, Hirata Sōkō. After the Sword Abolition Edict in the Meiji period, he sought to incorporate the new wave of Western art. He became an Imperial Household Artist and a founding instructor in the metalworking department of what is now Tokyo University of the Arts, where he taught metal-hammering techniques and exhibited his own creations."

The essence of the silversmith's technique is constant. Yet, it adapts to harmonize with the demands of the era. For Yoshitsugu, the words of the poet Matsuo Basho, 'fueki ryuko'—constancy and change—serve as his personal motto.

Growing up to the prayer-like rhythm of metal forging

Yoshitsugu remembers his grandfather, Ichio (the 10th generation and first Sōshō), a craftsman so renowned he was recognized by the 9th generation master, Hirata Sōdō. He recalls his grandfather letting him sit on his lap as a child to watch him forge metal.

Yoshitsugu: “Even as a child, I remember how comforting the *tan, tan, tan* sound of the forging was. I hoped that one day I could make that sound myself. Following in my grandfather's footsteps, I continue to hone my skills every day as a silversmith.”

The sound of forging was always part of his life. As the eldest of four brothers, Yoshitsugu naturally found himself wanting to become a silversmith. After graduating from high school and working at a metal processing company to gain real-world experience, he decided to join the family business at the age of 20.

Yoshitsugu: “One of the triggers was my mother's poor health. With my younger siblings still small, our family faced financial hardship. I felt the time had come to fulfill my long-held desire to contribute to the craft of silversmithing and to my community.”

Yoshitsugu began his journey as a craftsman. However, the training that awaited him was far more rigorous than he had imagined. He joined a successor training program organized by a guild, where he learned from silversmiths of various schools.

Yoshitsugu: “Each master had different procedures and tools. If I used the methods taught by a previous master, the new one would immediately yell, ‘Who taught you that?!’ It felt like starting from scratch every time, but my love for creating and my refusal to give up on myself kept me going.”

Passing on *narashi-uchi*, the core technique of a silversmith

Through his long years working with silver, he has come to a realization: the foundation of a silversmith's craft is forging. In particular, a technique called *narashi-uchi* (smoothing strikes) lies at the very core of it all.

Yoshitsugu: “It may seem like a simple process, but it's as essential as breathing. You hold the hammer with all five fingers and strike as if pushing with your middle finger. From there, you connect the feeling, creating a chain of movement from your wrist, elbow, shoulder, neck, back, hips, and feet.”

When struck, the molecular structure of silver changes, altering its shape depending on how the hammer is applied. Once you master the basics, you can apply them to create various shapes and patterns by choosing the right tools and observing how the material transforms.

Yoshitsugu: “If your mind or breath is unsettled, you can't strike with a good, solid sound. When I was younger, I would sometimes get so nervous being coached by a senior craftsman that I couldn't hammer at all. By composing myself and hammering as if I were breathing, I can create something special. In a way, it feels like I'm forging myself, just like a tool.”

Eager to share the allure of silverwork with a wider audience, he has been teaching these fundamentals in hands-on workshops for about 17 years.

Yoshitsugu: “Participants create everyday items like spoons and cups, but the most important thing is for them to experience metal forging firsthand. I've designed the program to convey the skills I've spent decades acquiring.”

Around 3,000 people from all over the world visit Nisshin Kikinzoku each year to learn silverwork. He says he often discovers new things while teaching people from various professions.

Yoshitsugu: “A guitarist might hammer as if shredding a solo, while a pianist strikes as if playing keys. People who knit create delicate patterns, and the hand movements of a master temple carpenter are just cool to watch. They intuitively understand where to strike, and it works well when they hammer in a way that matches their own rhythm. I often find that I learn a lot from them through the workshops.”

A Commitment to the Next Generation and New Challenges

A new wind is blowing at Nisshin Kikinzoku. Yoshitsugu's son, Sōki, has decided to take over the family business. Sōki, who just turned 20, admits he was hesitant about the succession.

Sōki: “Last February, my father collapsed, my grandmother passed away, and my grandfather became too old to continue working. I was faced with a critical decision about whether to take over. At that moment, I thought about the craftsmen from 400 years ago. Countless artisans dedicated their lives to the next generation, ensuring their skills would be passed down. It's an incredible thing, isn't it?”

When he realized the profound significance of this long-standing tradition, he resolved to carry on that spirit and began to think about what he could do to honor the generations before him. This led him to launch the silverwork brand, “Gindendo LLC.”

Sōki: “The technique of creating silver products by forging 99.9% pure silver is rare worldwide. With deep respect for the predecessors who passed down this skill, we will develop our brand by considering what we can add to the daily lives of our modern customers.”

For generations, the passion of artisans has been passed down, with their creations slowly evolving to meet the demands of the times.

Yoshitsugu: "The artisan population is aging, and the industry itself can be quite closed off. We change what can be changed, but we don't alter the essential core. I believe striking that balance is what will be required of artisans in this new global era."

It’s all about passing down a legacy to the next generation. For the silversmiths of today, a new chapter has only just begun.