The history of these wood grained metals started a long time ago with the search for a more suitable metal for swords. Europeans first found swords made of precious steel in Damascus, the trade centre during the middle ages (today capital of Syria). The crusaders misleadingly called it Damascus-steel. This material attracted attention through its phenomenal stability and tension as well as through its magnificent flamed wavy pattern. Cassiodor, a Roman scientist in the 6th century, described these weapons as "...swords forged by volcano...not the work of a mortal human being, but the work of gods."
Laminated crude steel was first found in China in the 1st century b. c. The Japanese, whose art of forging was inaccessible, as their samurai swords proved, developed the method of laminating steel to perfection and called it Mokume Gane. In the literature the armourer Denbei Shoami (1651 - 1728) living in Akita (Japan) is mentioned. He produced exceptional works made of steel as well as elaborate ornamentations, inlays and engravings in scabbards and blades. One knows that Shoami was inspired by traditional Chinese varnishing techniques with lined patterns (= Guri) where the patterns were engraved from thick plies of different coloured layers of lacquer. Also influenced by the Damascene-steel he discovered that nonferrous plates could be joined together causing patterns similar to the varnishing works. His oldest Mokume Gane work can be seen in the Kizuka hilt; he used gold (Kin), silver (Gin), copper (Suaka) and Shakudo alloy. Many of the old samurai swords have Mokume works and hand protection and sword endings. The reasons why this technique was so widely established in Japan are complex. There were profoundly developed skills in swordmaking as well as a large know-how in metallurgy. There was also an exceptionally high degree of education in the field of forging and a well functioning exchange of information (large schools from the 16th century onwards). Another premise was the existence and immediate availability of unique coloured alloys (Shakudo, Shibuishi, Kuromido). Many copper alloys originated due to the lack of precious metal and its price. Outside of Japan no further historical works of this technique with its typical patterns are known.
How come Mokume Gane is widely unknown outside Japan?
Two reasons become apparent:
1. Until 1853 Japan was an isolated island. the knowledge and the capability of the craftsmen and artists were well-protected secrets. Apart from this Mokume Gane was connected with ancient traditions (Samurai swords) and used exclusively for those purposes. 2. In the Western world the industrial revolution took its cause. One frowned upon emotions and alchemical craftsmanship. Everything was feasible, but it had to be produced in a fast, rational and cheap way - the beginning of mass production. Movements like art nouveau and constructivism did not pass by without a trace. But the traditional position of jewellery as a decorative investment remained untouched. It was not until the 60s that there was a change of tendency, and jewellery caught up with the latest artistic developments. The radicalism of a handful of modernizers was in the first place aiming for the autonomy of the art form. After a period with the slogan "back to basics" (functionality instead of mere ornamentation) experimenting with various materials, styles and techniques escalated during the 70s. During this period Mokume Gane was re-discovered in the States and enhanced with scientific thoroughness.
It is fairly difficult to trace an exact historical summary about Mokume Gane throughout the Western world. On the one hand this technique is relatively new here, and on the other hand it is widely unknown and can only be found in hidden niches. The following extract is only fragmented and certainly not complete. Also missing are the reasons why the concerning craftsmen began to look into the subject of layered metals.
Nevertheless, this technique failed to become greatly successful. The work-intensive and rather expensive Mokume Gane technique is demanding a considerable input of time and material. The paradoxical circumstance is retaliating: The jewellery designer is working like a craftsman in the early days. He has to invest a great deal of handicraft and time, whilst on the other hand traditional jewellery is being mass-produced in factories.