As I journeyed through Taiwan in June, I found myself drawn to the vibrant community of young antique dealers and enthusiasts. Reflecting on my southbound travels from Taipei, I was reminded of the invaluable lessons imparted by my Japanese aunt during my youth – the art of observing old objects and aesthetics with a discerning eye. She had taught me to read the traces left on antique items, to distinguish between new and old manufacturing techniques, and to feel the imprints of users’ habits over time. Through her guidance, I learned to appreciate the regional differences that shaped the materials, textures, and styles of these cherished artifacts. This concept of “regional differences” has long been a driving force behind the “merchant culture” in Asia. The diversity of locales has balanced the flow of information, giving rise to a rich tapestry of professions – from antique dealers to art aficionados and bonsai nurseries.
The term “merchant” was defined in the Meiji period as the origin of the “antique dealer”. While neither concept resonated readily with the people of Hong Kong, viewing these individuals solely as “dealers of antique goods” can be seen as an overly simplistic interpretation.
In fact, the roots of the antique trade can be traced back to the itinerant merchants of the Edo period, who peddled their wares door-to-door. This tradition has even deeper roots, dating back to the traveling merchants of the Song dynasty. As early as the mid-Tang dynasty (around 700-800 AD), these mobile traders would transport goods by horse or boat between commercial hubs and production sites, serving as indispensable intermediaries with local communities.
These intermediaries were similar to the traders of the Tang and Song dynasties, who assisted clients’ business and gradually evolved into roles like wholesalers, brokers, grocery store owners, antique dealers, and fixed-location merchants. The increased trade contacts between Portugal and Japan during the Meiji era further transformed this itinerant merchant culture into a more fixed, localized system of zoned merchants and street vendors – a structure that persists in many Asian markets to this day.
During the heyday of the itinerant merchant culture, various portable or backpack-style trade tools and displays were born. These included the primitive forms of the merchant’s tansu (箪笥), the handheld medicine tansu, and the backpack-style bamboo basket. As the trade model shifted towards a more fixed-location merchant culture, a new set of specialized tools and furnishings emerged to cater to the needs of commercial operations within the established shops and storefronts. These included the accounting table, the accounting tansu, and the pharmacy tansu .
The Japanese word “tansu” has its roots in the ancient character “担子,” which referred to a type of portable wooden box used to store items like tea utensils and weapons. It is believed that the drawer-style tansu furniture of the Edo period evolved directly from these portable storage solutions carried by itinerant merchants.
In Chinese, the character “箪” refers to a round bamboo vessel traditionally used for storing rice, while “笥” denotes a container meant for holding food and clothing – concepts akin to the modern tansu cabinet. Historical records indicate that the term “tansu” first appeared in Osaka around the Kanbun era, approximately 360 years ago (circa 1661-1673). By the Kyōhō era (circa 1711-1716), scholars note that commoners were utilizing tansu to store their clothing, often incorporating bamboo clothing baskets within the cabinetry. The emergence of the funa dansu in the port towns along the Kitamae ship trade routes (present-day Fukui Prefecture) further illustrates the versatility and adaptability of the tansu design. These specialized storage chests, used by wholesalers to hold herring, kelp, and other maritime goods, were engineered to float on the water’s surface, ensuring their contents could be easily retrieved in the event of an accident.
In the past, ownership of ornate tansu furniture was largely relegated to the elite classes and prosperous merchants. According to the history of the Japanese Folk Craft Movement, commoners of the time would often make do with more humble storage solutions, such as kuzura (woven grass baskets), kōri (luggage), or simple hitsu (wooden chests). The upper class, on the other hand, would use nagamochi and kuruma-nagamochi. The materials used in these furnishings served as a clear delineation between the possessions of the common people and those of the social elite. Whereas the commoners relied on bamboo, grass, and basic wood, the aristocratic tansu were crafted from more ornate and expensive materials.
As the tansu furniture gained widespread popularity during the late Edo period, a diverse array of specialized designs emerged to cater to the needs of Japanese households and businesses. One of the most famous of these was the mizuya tansu (or water tansu). Interestingly, the term “mizuya” also took on additional meanings during the subsequent Meiji era, where it was used to refer to ice cream shops, especially those that operated seasonally. Meanwhile, in the Kansai region, “mizuya” denoted the corner of a traditional tea room used for storing and cleaning tea utensils, while in the Kanto area, it primarily described a particular style of display or storage cabinet. Beyond the versatile mizuya tansu, other common types of tansu included the isho tansu (clothing tansu), the bakeba tansu (accounting tansu), and the cha tansu (tea tansu) – many of which can still be found in traditional residences and historical hot spring inns to this day.
As the tansu furniture form spread across Japan, different regions began to develop their own distinct styles and specializations. For instance, the Sendai tansu, originating from Miyagi Prefecture, were primarily designed for storing men’s haori (traditional jackets) without the need for folding. Clothing tansu and costume tansu became particularly common in this area, catering to the storage requirements of samurai and other upper-class individuals.
The Yaro tansu was a popular type: Typically had four drawers and was about 4 feet wide and 3 feet tall. Ornate with elaborate metal carvings of dragons, phoenixes, Chinese lions, peonies, etc. Often made of zelkova or chestnut wood with distinctive grains.
The Iwaya-do tansu* from Iwate Prefecture: Usually 3 or 3.5 feet wide. Also featured ornate metal carvings of dragons, lions, and floral patterns Made from zelkova or paulownia wood.
As traditional Japanese homes steadily vanish from the landscape, the rich culture and craftsmanship of the tansu are in danger of being forgotten by younger generations. However, the enduring presence of these iconic storage chests continues to offer a tangible window into Japan’s artistic heritage.
*Note: Iwaya-do was established in the mid-Edo period, around the year of 1782, when the lord of Iwaya Castle, Iwaki no Kami, encouraged his retainer Sanbo Shoemon to research and commercialize the production of fine furniture. As the demand for storage furniture grew during the subsequent Meiji era, the Iwaya-do artisans began utilizing zelkova and paulownia woods, often finishing their creations with polished lacquer or highlighting the natural wood grain. This refined aesthetic proved particularly popular in the northern regions of Japan. The Iwaya-do workshop’s primary focus was the production of chests for clothing storage, which were sometimes equipped with wheels for enhanced mobility. However, their repertoire extended well beyond these practical pieces, encompassing a diverse range of furnishings, including tea chests, bookcases, smaller chests, and low tables.
