The god(dess) of iron and tatara ironmaking traditions

There is a shrine dedicated to Kanayago Photo credits:  Hitachi Metals Yasugi factory.

There is a shrine dedicated to Kanayago Photo credits: Hitachi Metals Yasugi factory.

Excerpted from Tatara,

“The god of metals was believed to be a woman, very envious, and no woman was allowed in the furnace area. The workers were all men and their wives could not wear any makeup during the operation so as not to incur jealousy of the goddess. … The furnace is compared to the vagina in which steel is given life.
(That’s why it is Goddess rather than God who takes care of metals). The kind of iron sand which is easily reduced and put into the furnace at the beginning is called ‘komori ‘iron sand meaning ‘nurse’ iron sand, which is helpful in every way in producing steel from other kinds of iron sand. The best part of produced steel is called ‘Tamahagane’ and its quality is on the world top level, and used for such sharp edges as Japanese swords. The furnace is built from soil.” For more comprehensive information see the Tatara home page by Hitachi Metals Ltd.

More is written about the history of tatara and the Kanayago patron goddess of iron:

“Tatara was likely imported into Japan from Korea by way of Shimane Prefecture, and seeing as the San’in region is rich with titanium magnetite, a necessary ingrediant for iron production, it took hold here very early on in Japanese history. Way back in ancient Japan–specifically 713AD, two years after the compilation of the Kojiki (originally ordered by Emperor Temmu) was completed, Empress Gemmei ordered the compilation of the Fudoki. While the Kojiki is like a history book (which we would now consider a book of Shinto mythology), the Fudoki were like encyclopedia, conducted in each province to chronicle geography,  plant and animal species, the lifestyles of the people, and significant historical events (many of which we would now refer to as myths). Most of the Fudoki no longer exist, but the Izumo-no-Kuni-Fudoki remains mostly in tact. Therefore, we know a lot more about life in 8th century Izumo than about any other part of Japan. It includes many details about tatara.

Because we have so much information about its history and because it was practiced in Izumo province for hundreds of years, there are a number of museums, blacksmith family residences, archeological digs, ruins, and sword museums around the towns of Okuizumo, Yasugi, and Unnan. Okuizumo is best known for this because the The Society for Preservation of Japanese Art Swords has rebuild a tatara there called Nittoho-Tatara, and forges swords using traditional means once a year a so. …

There is patron god of Tatara, though many of the popular local myths say she is a goddess. This is Kanayago, the kami that is revered throughout Japan for teaching craftsmen how to making iron. Having particular influence over Western Japan, she wanted to settle in the mountains there, so she descended upon a particular spot in southwestern Yasugi where a heron perched upon a katsura tree, a very brief hike up the hill from Kanayago-jinja, the head shrine of all Kanayago shrines.”

However, one of the best authorities on the subject is the Hitachi Metal’s “The history of the tatara” website which informs us that a couple, a male and female pair of deities tied to the Yamato royal line, named Kanayama-hiko-no-mikoto and Kanayama-hime-no-mikoto, are ritually venerated at the tatara:

“Kanayago-kami (the deity Kanayago) is enshrined at tatara in the Chugoku mountains. While the main shrine dedicated to this deity (whose name is written with characters that literally mean “child of the metal worker) is located at Nishihida in the city of Yasugi, Shimane Prefecture. Devotion to Kanayago-kami is widespread, centered on the Chugoku region but extending from Kyushu and parts of Shikoku to the distant Kanto region and parts of Tohoku. The ritual deities celebrated at present are Kanayama-hiko-no-mikoto and Kanayama-hime-no-mikoto with origins in the Yamato line (see section 2.1.3 for background), but originally it was Kanayago-kami, more familiarly called “Kanayago-san” throughout the region. Worship of Kanayama-hiko and Kanayama-hime (male and female, respectively) dates almost certainly to early modern times. This is believed to have been aimed at increasing the authority of the shrines.

The story of Kanayago-kami is as follows.

In the distant past, Kanayago-kami decided from the heavens to a place called Shiso-no-kori (Shiso County) in the province of Harima (in what is now southern Hyogo Prefecture, in the San’yo district). She taught the people there how to make iron, and made an iron kettle out of rock. Since then, that place has been called Iwanabe (“rock kettle”), which is in the vicinity of the town of Chikusa, Shiso County, Hyogo Prefecture. However, as there were no mountains nearby where she could live, Kanayago-kami declared, “If I am to be the deity who rules the western reaches, I will proceed to the west and live in a suitable place there.” So saying, she climbed on a white heron to travel to the mountains of Okuhida in Kurota in Nogi County of the province of Izumo (around Nishihida in Shimane Prefecture). The heron alit upon on a katsura tree to rest, and Kanayago-kami then taught the technique of making iron in that region to the members of the Abe clan.

Since then, Kanayago-kami has continued to be worshipped by the descendents of the Abe clan. The Abe clan involved itself not only with priestly affairs, but also with traveling around to instruct others in tatara techniques.

There are a variety of curious taboos associated with Kanayago-kami. Among them:

Kanayago-kami hates dogs, ivy, and hemp. She favors wisteria.
According to the legend in Hino County, Tottori Prefecture, a dog howled at Kanayago-kami when she descended from the heavens. The deity tried to escape by climbing a vine, but the vine broke. She was attacked by the dog and died as a result. The version of the story told in I’ishi County, Shimane Prefecture, is that, rather than ivy, she became entangled in hemp or flax and died. The legend in Nita County, Shimane Prefecture, holds that the ivy did indeed break, but she then grabbed onto a wisteria tree and was saved. She may be a deity, but in this humorous story she is a rather human character. Such legends are the reason why dogs are not allowed near tatara and hemp is not used for any tatara tools or equipment. Also, katsura trees are not burned in tatara because they are regarded as divine.

Kanayago-kami hates women.
Kanayago-kami is a female deity so she hates women. A murage will not enter the tatara when his wife is menstruating. He shuts down his tatara temporarily just before and after his wife gives birth. If work is at a point that he cannot put it aside, it is said that he will not go home nor look at the face of his newly born child. It is also said that murage are especially strict about not getting into a bath if a woman has used it.

Kanayago-kami likes corpses.
The disciples of Kanayago-kami did not know what to do with their tatara when she died so suddenly. It is said that just as they were praying to and beseeching her for help, just when the iron could not be brought to birth no matter what they did, they received an oracle calling for them either to stand a dead body up against the tatara’s four supporting pillars (Nita County) or bind the bones of a murage to the four pillars (the village of Yoshida, Shimane Prefecture). There similarly appears to have been no taboos about death in tatara in other locales, either. They apparently made coffins in tatara when a person died in Aki or Yamagata in Hiroshima Prefecture, while in Futami county in the old Bingo province (around Hiroshima today) people would carry a coffin around the tatara when holding a funeral.

Actually, it is unclear as to whether or not Kanayago-kami is meant to be a male or female deity, but in the tatara the deity has been said to be female. Masaya Abe, a descendent of the Abe clan and chief priest at Kanayago Shrine, writes, “Kanayago-kami is usually held to be a female deity. However, that is because it was a woman who enshrined it. The deity was originally a youthful male.” Details about Kanayago-kami turn up in various stories, including those related to such other deities as Yawata-kami, Ama-no-hiboko, Takuso-susano-no-mikoto, and Kanayama-hiko-no-mikoto. In all cases, Kanayago-kami was the patron deity of blacksmiths, worshipped from the start by people involved in metalwork. These artisans spread devotion to Kanayago to many locations, and the present form of that worship was probably created by the Abe clan.

Festivals are held at the shrine Kanayago-jinja in the spring around the middle of the 3rd month and in the autumn early in the 10th month, the dates being determined according to the Chinese zodiacal calendar. In the past, the Kanayago festival at Hida was an event to which tatara masters and blacksmiths would come from distant provinces, as well as from Izumo and the neighboring province of Hoki.”

Another authoritative source, the Encyclopedia of Shinto relates that the Kanayago goddess is a Kajishin kami, at the centre of an ancestral cult of the blacksmith community:

” A kami of smithing and of metal forging enshrined by people who work in those industries. In premodern times, blacksmiths (kaji) included both those living sedentary lives in towns, and those who, together with bellows-makers (tatarashi) and metal casters (imoji), would join itinerant iron-working occupational groups called kanaya that traveled from village to village. In either case, such individuals were viewed as having a quasi-religious character due to their ability to control the magical power of iron.

Among these people, the kami Kajishin was worshipped both as an occupational ancestral deity (sojin) that transmitted to humans the techniques for iron smelting and smithing, and as a tutelary of the process of production and processing. At the heart of the cult of Kajishin was the goddess Kanayago no kami. The origins of this kami are not clear, but according to the Kanayago engishō, Kanayago no kami was the offspring of the union of Kanayamabiko no mikoto and Kanayamahime no mikoto. According to the legendary history related by the Kanayago no kami saimon (found in the Kayago no kami hissho), Kanayago no kami first descended from the Plain of High Heaven to the district of Shisō in the province of Harima. Climbing astride a white heron, Kanayago flew to a mountain forest in the district of Nogi in the province of Izumo, and there she transmitted the secret techniques of iron manufacturing to a man named Abe, who would later become priest (shinshoku) of the shrine Kanayago Jinja.

Portrayed as a female kami, taboos regarding Kanayago include blood pollution and the presence of women, and she is said to fear dogs. On the other hand, this kami does not appear to make a taboo of the pollution of death.

The cult of Kanayago no kami spread mainly in Japan’s Western Honshū region, and the shrine Kanayago Jinja in the town of Hirose (Shimane Prefecture) is regarded as the major shrine to the kami. Other kami worshiped as Kajishin include a number of deities appearing in Kojiki and Nihongi, including the blacksmith Amatsumara (Yamato no kanuchi Amatsumara), Ishikoridome, and Amenomahitotsu no kami. Of these, Amenomahitotsu appears in the Nihongi’s episode of the descent of the heavenly grandchild (tenson kōrin) in the guise of Kanadakumi, and also appears in the Harima fudoki with the similar name Amanomahitotsu no mikoto.

The kami continues to be worshipped today at the shrine Amenomehitotsu Jinja in the city of Nishiwaki, Hyōgo Prefecture. Local legends regarding the kami remain in this area, and they generally relate that the deity has only one-eye, in accordance with its name (ma-hitotsu = “one eye”). At some point, the kami Inari also came to be regarded as a tutelary of smithing, and some locales continue to celebrate both Inari and Kanayago no kami during the “Bellows Festival” (Fuigo matsuri) observed on the 8th day of the 11th lunar month.”

Notwithstanding that blacksmithing and forging traditions were established first on mainland Japan, some of most detailed information on the key deities is surprisingly to be found on Okinawa Island to where blacksmithing was introduced:

 “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…

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. [Compare these one-eyed oni with the Greek myths of Cyclopes who were also one-eyed skilled blacksmithing giants who made the trident for Poseidon, thunderbolts for Zeus, and who were imprisoned deep in the heart of the Tartaros Earth Pit by the Sky god Uranus, until freed by Cronus.]

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 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.

Sampo-kojin

Sampo-kojin

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 Divinity 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).

Source: Explanation of Blacksmith Divinity

Notes:

Although the word “tatara” is said to have its origin in India, it is more likely to have a Volga-Ural region origin as Tartar identity is synonymous with a Turkic (or Mongol-Turk) identity, as not only is are the blacksmithing and forging skills of the “Tartars” legendary, the region is among the earliest metallurgical centers of the world, and is also the origin of the one-eyed Cyclopian-ogre tales. … Alternatively, the blacksmith migrant arrivals in Japan were Saka nomads hailing from from Northern India (Saka-stan, having sojourned there from the Caucasus) in which case, the oral tradition of the origins of the tatara-production may prove to be true after all. The Hittites were said to have been the earliest (or among the earliest) iron-workers, and both India and the Volga-Ural region were known to have had Hittite populations, from whom the Tartars could have learned iron-making.

The tale of that 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” is likely a euphemistic funerary reference to the death of the original ancestral chief, as birds were often the shaman priest’s helpers on their journeys in the Other World in prehistoric times.

The tatara culture is said to have been brought into Japan by Kaya lineages, who first established themselves in the enclaves of Kibi(Okayama), Kawachi province (Osaka), Takeuichi in Yamato, Ikenokami site of Fukuoka. They are said to have arrived in such notable numbers initially that they were called the Imaki-kun, the “now arriving khans” (ima meaning now, ki, coming and “kun” synonymous with the “khan” title used by nomads of continental Eurasia (the Korean cognate was “han”) – Source:Young Sik-Lee, Recent research  trends on the history of Kaya of Korea, Int Journal of History of Korea, vol. 1 2000

Read more about the swordsmithing apprentice Pierre Nadeau’s life here and on the making of a traditional Japanese sword at his Soulsmithing Blog

See also Turks, Tartars and Mongols of European Russia and What it means to be a Turk

And detailed descriptions out of the Khorasan or Kharezm court of who the Turks and Tatars are to be found at:

The Shajrat ul atrak, or genealogical tree of the Turks and Tatars

The haplogroup N/Tat-C “controversy” is finally over. This haplogroup N is distributed throughout Northern Eurasia. It is the most common Y-chromosome type in Uralic speakers (Finns and Native Siberian). This lineage most likely originated in northern China or Mongolia and then spread into Siberia where it became a very common line in western Siberia. See:

Rootsi et al., A counter-clockwise northern route of the Y-chromosome haplogroup N from Southeast Asia towards Europe, European Journal of Human Genetics advance online publication 6 December 2006; doi: 10.1038/sj.ejhg.5201748
“…detailed analysis of hg N suggests that its high frequency in east Europe is due to its more recent expansion westward on a counter-clock northern route from inner Asia/southern Siberia, approximately 12–14 ky ago. The widespread presence of hg N in Siberia, together with its absence in Native Americans, implies its spread happened after the founder event for the Americas.The most frequent subclade N3, arose probably in the region of present day China, and subsequently experienced serial bottlenecks in Siberia and secondary expansions in eastern Europe. Another branch, N2, forms two distinctive subclusters of STR haplotypes, Asian (N2-A) and European (N2-E), the latter now mostly distributed in Finno-Ugric and related populations. These phylogeographic patterns provide evidence consistent with male-mediated counter-clockwise late Pleistocene–Holocene migratory trajectories toward Northwestern Europe from an ancestral East Asian source of Paleolithic heritage. …
14 N2-individuals from Turkey, data from Cinnioglu et al6 (updated in this study), belong to the Asian subcluster N2-A, suggesting that the clade N2 might have geographically expanded from Siberia westward by at least two different flows: one northwest through the Volga-Ural region, giving rise to N2-E, probably mainly via the Finno-Ugric group, and the other, N2-A, southwest together with Turkic languages.”

Cyclopes (Encyclopaedia Mythica)

On the similarity between metallurgical traditions of extreme west-east ends of Eurasia, we may come to an understanding by tracing the early metallurgical centres to the taiga and forest-steppe zone to the north. An important network of contacts stretched from the Ural mountains to the Altai, giving rise to a common north-Eurasian metallurgical tradition at first based on the hollow casting of bronzes (and later iron – see  (See: Korya.Bronze). This was the ancestor to both of the Chinese bronze-casting tradition for ritual vessels of the Shang and Zhou periods, and of advanced types of hollow-cast weapons and tools (spearheads, axes) in northern Europe. Due to the spread of the kurgan civilization, the impact on Chinese technology was the incorporation of the steppe chariot-complex in the later Shang period (See: Shang period). Contacts between the western and eastern ends of Eurasia were thus established across the intervening region at the time of the Bronze Age civilizations in each area, and account for certain common features, despite the very different character of these societies.

 

The Comparative Lexicon for Metals

(Copper technology began in East Anatolia by 6500 BC with some researchers suggesting a possible origin in the Vinca Culture..)

Copper:

Sumerian KAxUD.BAR (or) UDxKA.BAR (or) SI.BAR … also URUDU
Latvian varš (pronounced “varsh”), dim. VARiņš… also Latvian RUDU- “copper colored”, RUDVARIS (var. RUDU VARA)
Lithuanian      varis viz. varias  
Old Prussian wargien  
Latvian svars “weight” *sa-VARS 
Akkadian    SIPARRU 
Hebrew      SEPER
Urdu/Hindi  Tanba

Gujerati      Tabu

Pali                Tamba

Tibetan      zangs

Southern Min  Tang

Hakka            Thung

Chinese        Tong

Japanese      Dou

Vietnamese  Đồng

Thai                ทองแดง thongdaeng

Iron

Latvian          Dzelzs

Lithuanian   Geležis

Altaic:

Azerbaijani Dəmir

Chuvash      Timĕr 

Kazakh         temir 

Khakas         Timîr

Kirgiz            Temir

Turkic           Demir 

Turkmen      Ütüklemek, Demir 

Uighur          tömür

Uzbek           Temir

Mongolian  tömör

Hakka           Thiet
Chinese        Tie / Tit
Southern Min Thih
Japanese     Tetsu
Korean         Ceol 
Thai               lek
Tibetan        lcags 
Gujerati (India) lokha’ḍa 
Tin lead
Turkish Kalay  Used in most of the Balkan as well as in the Altaic languages
Baltic  Alavas (Baltic)The Baltic Alavas is used in Eastern Slavic languages (Russian Олово). In Western Slavic languages this is the name for Lead.
Altaic

Azerbaijiani Qalay
Chuvash     Тăхлан [Tăhlan]
Kazakh       Къалайы [k”alajy]

Mongolian  Цагаан тугалга [cagaan tugalga]

Turkish       Kalay

Uighur قەلەي [qäläy]
Uzbek         Qalay
Europe:
Georgian     kala
Sino-Tibetan:
Hakka           Siak
Chinese        錫 [xi / sik]
Japanese スズ [suzu]
Korean      주석 [juseog]
Thai       ดีบุก [dībuk]
Vietnamese    Thiếc 
Gold
Germanic      Gold 
Bengali            Gold
Gujerati          Sonu
Latvian           Zelts 
Russian          Zoloto
Lithuanian    Auksos
Armenian      Oski
Khakas            altin
Uighur             altun
Uzbek              Oltin
Hakka                kim
Southern Min Kim
Japanese          kin
Chinese             金jin / gam
Korean              금geum
Source: Krogt; Salonen; Kassiteros at Eedle’s homepage.