Tokyo Ginki Pure Silver Incense Burner — product view
Pure silver incense burner on a textured metallic table with a seated person softly blurred behind it.
Person lifting the vented lid beside the open pure silver incense burner on a textured table.
Pure silver incense burner on a warm wooden table beside flowers, with a hand touching the lid.
Pure silver incense burner on a woven outdoor table, with a person reaching toward the lid.
A seated model presenting the pure silver incense burner on open palms from a sofa.
A model cupping the assembled pure silver incense burner in both hands above a low wooden table.
A model lifting the vented lid from the pure silver incense burner at a woven outdoor table.
Tokyo Ginki Pure Silver Incense Burner — product view
Pure silver incense burner on a textured metallic table with a seated person softly blurred behind it.
Person lifting the vented lid beside the open pure silver incense burner on a textured table.
Pure silver incense burner on a warm wooden table beside flowers, with a hand touching the lid.
Pure silver incense burner on a woven outdoor table, with a person reaching toward the lid.
A seated model presenting the pure silver incense burner on open palms from a sofa.
A model cupping the assembled pure silver incense burner in both hands above a low wooden table.
A model lifting the vented lid from the pure silver incense burner at a woven outdoor table.
Kasahara Silverware Workshop SKU: BJ_P_00093

Tokyo Ginki Pure Silver Incense Burner

Price
Regular price ¥960,970
Regular price Sale price ¥960,970
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Product Details

PRODUCT DETAILS

A silver incense burner shaped by light and structure

Handcrafted in pure silver, this one-of-a-kind incense burner gives a compact architectural presence to a table or shelf. A hammered circular rim, open vertical supports, and a flower-like vented lid create shifting reflections across its 82 mm diameter form. Made by Kasahara Silverware Workshop, the piece weighs 209 g.

USE & APPRECIATION

A reflective presence at the table

Let the cool, unlit burner remain in view between uses. Its open supports and flower-like lid catch reflections across the pure silver, bringing a small architectural presence to a quiet table.

Pure silver incense burner on a textured metallic table with a seated person softly blurred behind it.

A Gentle Finish at the Table

Before preparing the burner, take a moment to notice the lid and hammered rim. The contrast between open structure and reflective surfaces makes this one-of-a-kind silver piece rewarding to appreciate even while unlit.

A model settling the vented lid on the pure silver incense burner at a textured table.

The interior revealed

With the burner cool and unlit, lift the lid to see how the inner bowl sits within its open structure. This closer view brings the silverwork into focus, making preparation an opportunity to appreciate the object itself.

Person lifting the vented lid beside the open pure silver incense burner on a textured table.

Presented from the Sofa

Present the cool, unlit piece in both hands when sharing its details with someone. Its compact scale brings the hammered rim and open supports close to view, turning the silverwork into a point of conversation.

A seated model presenting the pure silver incense burner on open palms from a sofa.

Silver beside a small arrangement of flowers

Before use, lift the cool lid and follow the change from its flower-like openings to the smooth inner bowl. Warm wood beneath emphasizes the silver reflections, letting a simple moment of preparation reveal the piece's construction.

Pure silver incense burner on a warm wooden table beside flowers, with a hand touching the lid.

Held Close at a Low Table

Cradle the cool, unlit burner before returning it to the table. At hand distance, the open vertical supports and rounded rim become easy to appreciate, giving this small silver object a presence beyond its size.

A model cupping the assembled pure silver incense burner in both hands above a low wooden table.

A close view outdoors

In a dry, sheltered setting, look at the cool, unlit burner against the greenery. Reflections move across the pure silver as your viewpoint changes, offering another way to appreciate its open form before taking it indoors.

Pure silver incense burner on a woven outdoor table, with a person reaching toward the lid.

The Interior Opened Outdoors

While the piece is cool and unlit, lift the lid for a closer look at the inner bowl. The contrast between the enclosed center and open outer supports reveals the small architectural arrangement of the silverwork.

A model lifting the vented lid from the pure silver incense burner at a woven outdoor table.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care panel for the pure silver incense burner: keep rubber away, supervise burning incense, avoid dishwasher cleaning, and do not use appliance heating.

Pure silver changes through touch, air, and time. Care varies by finish; when home care is insufficient, consult the workshop about professional treatment. Keep rubber products away from the incense burner.

OBJECT PASSPORT

Product details

Dimensions
82Φ×58Ｈ mm
Material
Pure silver
Product weight
209 g
Origin
Japan
Craft Heritage

CRAFT HERITAGE

Craft Heritage

The tradition of Tokyo Silversmithery began in the middle of the Edo period with the emergence of silversmiths known as shiroganeshi and decorative metalworkers. The silversmiths formed the base vessels that engravers would later embellish, while the metalworkers produced combs, hair ornaments, and fittings for portable shrines.

Their skills developed in Edo, home to the gold and silver mints and the political, economic, and cultural center where feudal lords from across Japan gathered.
How It’s Made

TRADITIONAL CRAFT PROCESS

How It’s Made

About the Making Process

Tokyo Silversmithery makes use of silver's softness, workability, luster, and resistance to rust.
A single sheet of silver is repeatedly hammered against shaped stakes, gradually transforming it from a flat sheet into a three-dimensional vessel.
Edo-period techniques such as tankin hammer forming, chokin engraving, and kiribame inlay are used to develop the form, decoration, and final surface.

1. Tankin (Hammer Forming)
  • The silver is annealed to soften it, measured, and cut into the required blank.
  • For a rounded vessel, the sheet is first worked into a shallow dish with a wooden mallet, then raised into a three-dimensional form using hammers and stakes selected for each stage.
  • Hammering hardens the metal, so annealing and shaping are repeated until the desired form is achieved.
  • Once formed, patterns resembling rock, woven rush mat, basket weave, or tortoiseshell may be struck into the surface.
2. Chokin Engraving and Kiribame Inlay
  • For chokin, the design is copied onto ganpi paper and attached to the vessel. Guide marks are made with a chisel before a range of chisels is used to bring out the motif.
  • In kiribame, part of the design is cut from the silver and replaced with a matching piece of another metal, such as copper or shakudo.
  • The insert is secured with silver solder. Excess solder is then removed with files and whetstones until the surface is smooth.
3. Finishing
  • In nikomi finishing, the silver is polished with fine Suruga charcoal and other materials, given a subdued matte texture, cleaned of oxide, colored in a prepared bath, and thoroughly rinsed.
  • In kinfurubi finishing, the cleaned surface is finely textured and treated with an antiquing solution formulated for the piece. The surface is then refined with horn powder and baking soda to balance the tones and enhance the pattern’s depth and relief.
Meet the Maker

MEET THE MAKER

Meet the Maker

MAKER · HONGO, TOKYO

Silver, Raised by Hand

In Nobuo Kasahara's workshop, a flat sheet of silver becomes volume through repeated blows. The transformation is gradual: hammer, stake, turn, observe, and begin again. What appears effortless in the finished form is the record of controlled decisions repeated across the surface.

Nobuo Kasahara standing at the entrance to his silverware workshop.
Nobuo Kasahara — Shūhō

Born in 1941, Nobuo Kasahara—who works under the art name Shūhō—succeeded his father and continued the family practice of metalwork. He is a Traditional Craftsperson of Tokyo silverware. Kasahara Silverware Workshop has worked in Hongo, Tokyo, since 1956, with hammered gold and silver objects at the center of its practice.

Kasahara describes the work as both inheritance and inquiry. Alongside the methods passed down from his father, he continues to study new techniques. The workshop has also undertaken the repair, restoration, and reproduction of cultural properties, including reproductions associated with Izumo Taisha and Mishima Taisha. This is craftsmanship asked to do two things at once: preserve what cannot be lost and remain capable of making what has not existed before.

From One Sheet to a Living Surface

The central technique is *tankin*, or hammer forming. Silver sheet is gradually shaped against metal stakes and other supports. Gold and silver work also draws on techniques such as silver soldering, riveting, and decoration with hammers and chisels. The workshop uses different tools and methods according to the form and intended use of the work.

The workshop's tools are not interchangeable. Different hammers, stakes, and chisels answer different curves and textures. Their marks can be refined, but they are not meant to erase every sign of making. In a well-formed piece, surface, weight, balance, and use arrive together.

Made to Continue

Silver changes through touch, air, and time. Care methods differ for polished, matte, colored, and other finishes. Through its “Silver Clinic,” Kasahara Silverware Workshop also provides guidance and consultation on caring for silverware.

Alongside making silverware, the workshop offers advice to support its continued use.
Shipping Information

Shipping to the United States

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Estimated arrival

Estimated arrival is usually within 5–10 business days after payment and order confirmation. This is an estimate and not a guaranteed delivery date. Timing may vary because of the destination, carrier conditions, customs review, weather, remote-area service, or other circumstances outside our reasonable control.

Shipping charges

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Damage or incorrect delivery

If the parcel or item arrives damaged, contact us within 48 hours of delivery. For an incorrect or incomplete order, contact us within 14 days. Keep the item, outer box, inner packaging, and shipping label, and prepare photographs showing their condition. Do not return an item until we provide instructions.

Read the full Shipping Policy for carrier, address-change, delay, and undeliverable-shipment details.

Questions? Email store@brand-japan.ne.jp. Support hours are Monday–Friday, 10:00–18:00 Japan Standard Time, excluding Japanese public holidays.

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