Hisashige Tanaka

Hisashige Tanaka

The Genius of Mechanical Wonders

One of Japan's greatest inventors, he was known as "the genius of mechanical wonders."

Hisashige Tanaka

Reference:
Hisashige Tanaka [Kurume City Board of Education;
photo courtesy of the Board]

Toshiba's founder, Hisashige Tanaka, was born the eldest son of a tortoiseshell craftsman in 1799. At the age of twenty-one, he performed at a local shrine festival with clockwork dolls he constructed himself. This display of technical wizardry created such a stir that he ended up traveling the length and breadth of the country as an itinerant entertainer. Eventually he settled down in Osaka to sell his inventions, including the extremely popular Mujin-to rapeseed-oil lamp that used a compressed air fueling system to burn extra long. Then he scaled further heights of technological ingenuity with Man-nen Jimeisho, the finest traditional Japanese-style clock ever made.

In 1854, Hisashige was invited by the Saga clan to help construct steamboats and telegraph equipment. In 1873, he moved to Tokyo to develop a telegraph system at the request of the new national government, which had grown out of the Meiji Restoration. Hisashige's work helped the government meet its goals for economic development with infrastructure improvements in the communications network. Throughout his long life, Hisashige was always ready to meet new challenges. He was an inventor to the core and never lost his penchant for fine craftsmanship.

Karakuri - Mechanical Figures

Hisashige remained true to his boyhood ambition to achieve fame as an inventor throughout the realm.

Kurume was the birthplace of the king of nineteenth-century Japanese inventors.

  Karakuri

Reference:
Yumihiki Doji; arrow-shooting boy
[collection of the Kurume City Board of Education]

Hisashige Tanaka was born on September 18, 1799, in what is now the city of Kurume in Fukuoka Prefecture on the island of Kyushu. His father, Yaemon, was a skilled maker of tortoiseshell ornaments, and the constant sight of him working implanted seeds of creativity in the young Hisashige.

At the tender age of eight, Hisashige devised what he called an "ink-stone case with a secret lock," featuring a cord that needed to be twisted in just the right way to pull out the drawer. When he took it to school and challenged several classmates to open the drawer, they eagerly tried but all failed. Then, to their wide-eyed astonishment, Hisashige swiftly opened it with ease. At the age of fourteen, he was commissioned to build a machine that could weave pictorial patterns on Kurume-gasuri, a type of kimono fabric for which the area was renowned. He perfected the device using his own innovative technology, and succeeded in weaving beautiful designs into the fabric, which had previously featured only simple spangled patterns. The young Hisashige's talents were already starting to bloom.

The genius of mechanical wonders was entertaining as well.

The Gokoku Shrine in Hisashige's hometown of Kurume celebrated a major festival twice a year, in the spring and fall. The biggest draw was the mechanical doll show, which is where the young Hisashige first encountered clockwork gadgetry. Fascinated by what he saw, Hisashige began creating gadgets himself and exhibited them at Gokoku Shrine. This is when people started calling him "the genius of mechanical wonders."

Although the eldest son, he asked his father to let his younger brother take over the family business, for he was determined to pursue success as an inventor. And so he continued to devote himself to the construction of mechanical dolls. For almost two years, they say, he never went outdoors, and he would go for seven or eight days on end without sleep. Then, eager for some new gems of knowledge to incorporate into his inventions, he traveled all the way to distant Edo; Tokyo, where he built a replica of an airgun from Holland. Through this endeavor he mastered the technology of the air-pressure pump. In 1824, having become a true master of the art of constructing automated dolls, he began traveling Japan as an entertainer, until the whole country had heard of "the genius of mechanical wonders." Those were the colorful days when ukiyo-e prints with their scenes of daily life were all the rage and suave fashions dominated the streets. Hisashige's mechanical doll shows were major entertainment spectacles that perfectly complemented the spirit of the age.

  • A map from Hisashige's day showing the precincts of the Gokoku Shrine
  • Advertisement for a mechanical doll show

Reference:
(left)A map from Hisashige's day showing the precincts of the Gokoku Shrine [collection of the Kurume City Board of Education; photo courtesy of the Board]
(right)Advertisement for a mechanical doll show[National Science Museum]

Yumihiki Doji;arrow-shooting boy, the ultimate mechanized doll.

Yumihiki Doji ;arrow-shooting boy

Reference:
Yumihiki Doji ;arrow-shooting boy
[collection of the Kurume City Board of Education]

Of all the numerous mechanical figures that Hisashige produced, the supreme masterpiece is undoubtedly Yumihiki Doji - a doll that takes four arrows from a stand and shoots them in succession at a target. This tour de force is achieved by means of a metal clockwork mechanism, seven cams, thirteen threads with levers, and twelve moving parts.

Among the notable features of the piece is the use of brass for the clockwork mechanism, which guarantees sufficient strength and durability so that each motion glides smoothly into the next. A second feature is the way that one of the four arrows is "programmed" to miss the target. This brilliant piece of showmanship caters to the audience's expectations by having the figure shoot his arrow on cue — only to miss in an unanticipated twist that adds to the fun. What's more, the doll greets a successful shot with a self-satisfied smirk, but looks crestfallen when the arrow strays. Hisashige, not content with merely getting the thing to operate properly, gave it a truly human quality by making it susceptible to occasional failure and endowing it with emotions.

There could be no greater testament to his knack for entertaining people.

Hisashige Tanaka's mechanical creations
Toro Ningyo ; puppet, from Yame Fukushima

The Toro Ningyo puppet shows in the Fukushima area of Yame City have a 250-year history. Performed every September at the Fukushima Hachiman Shrine, they have been designated an important intangible cultural asset by the Japanese government. The puppets are manipulated from backstage by means of rods — a technique devised by Hisashige, who presented his own mechanical doll shows on the same type of stage.

  Toro Ningyo ; puppet, from Yame Fukushima

Reference:
Toro Ningyo; puppet, from Yame Fukushima
[collection of the Yame City Board of Education; photo courtesy of the Board]

Other mechanical dolls by Hisashige

Other mechanical dolls by Hisashige
Kame no Hai-dai; sake-cup stand in the shape of a tortoise
Place a full cup on the tortoise's back and it advances straight ahead. Place an empty cup on its back and the tortoise does a U-turn to where it came from.
Mechanical Hototogisu; cuckoo
The bird, powered by a clockwork mechanism built into the base of the cage, chirps away while moving its head, beak, and wings.
Doji Hai-dai; sake-cup stand in the shape of a little boy
Fill the cup and the little boy obligingly takes it to your guest. Once the guest drains the cup and places it back on the stand, the little boy turns around and returns to his original starting point. The figure, which measures about 20 cm tall, seems to hover in the air but in fact moves on tiny wheels attached to the base.
Kobodaishi Himitsu-no Fude; Kobodaishi's secret ink brush
A doll representing Kobodaishi; a great handwriting master, picks up an ink brush and draws a character in the air. Stroke by stroke, the same character appears simultaneously on a fusuma;Japanese sliding door.

Mujin-to - The Popular Long-burning Lamp

The popular long-burning lamp - a triumph of technology and marketing.

Hisashige Tanaka establishes a business in Osaka.

Mujin-to ; brilliant, long-burning oil lamp with air-pressure pump fuel filler

In the 1830s, the feudal domains into which Japan was divided began retrenching in the face of economic hardship. In the process, they cracked down on anything resembling entertainment or luxury. Mechanical doll shows, too, fell into official disfavor. So Hisashige left his native Kurume in 1834, wife and children in tow, and took up residence in Osaka, with the intention of manufacturing and selling practical devices. At thirty-five, he was at the height of his powers. He adopted the name "Giemon Tanaka" and, equipped with his rare penchant for inventing things, threw his hat into the competitive ring in what was then the thriving economic hub of Japan.

Reference:
Mujin-to ; brilliant, long-burning oil lamp with air-pressure pump fuel filler [Center and right: lamps in the collection of the Saga Prefectural Museum. Height approx. 60 cm. Left: lamp in the collection of the Toshiba Science Museum. Height approx. 80 cm.]

His business caters to a growing consumer market.

As industry boomed in Japan's cities and people started working and playing late into the night, demand for lamps grew. People wanted something more convenient with which to light their rooms.Hisashige catered to their need with his portable Kaichu Shokudai; pocket candlestand, which could be collapsed into a compact body measuring 10cm a side and tucked neatly into the bosom of a kimono. This portability made it a favorite among physicians visiting patients, and it proved a big seller among others as well. Every detail revealed Hisashige's concern for quality, such as the way it was made of rust-resistant brass. He went on to release a whole series of lighting implements, like the Mujin-to; described on the next page, and the Nezumi-to; with a rat-shaped tank that automatically refilled the oil.

Business steadily grew. But then, in February 1837, famine and hoarding sent the price of rice soaring, and the starving populace started ransacking rice shops and granaries, plunging the streets of Osaka into utter chaos. Hisashige and family escaped straightaway to safety, but in the subsequent conflagration three years of steady, hard work literally went up in smoke.

Kaichu Shokudai;pocket candlestand

Reference:
Kaichu Shokudai; pocket candlestand
[Toshiba Science Museum;
photo courtesy of the Museum]

The revolutionary Mujin-to lamp transforms Japan's commercial capital.

Traditional forms of lighting, candles and lanterns, were fraught with problems. They were not bright enough, to start with, and the flame would flicker whenever there was a draft. Hisashige, who would stay up all night engrossed in his inventions, must have been as aware as anyone of the shortcomings of traditional lighting sources. So he set out to improve things. The fuel used, rapeseed oil, was not easily absorbed by the wick because it was highly viscous. He therefore adapted the mechanism of the European airgun, of which he had once built an imitation, and came up with a design that included an air-pressure pump to force the fuel into the wick. According to the instructions that accompanied the lamp, first you flip open the lid of the fuel tank and fill it with oil up to the brim. Then you move the lid up and down to raise the pressure inside the tank. Once the pressure reaches a certain level, the rapeseed oil rises through a pipe in the column; a mouselike squeak tells you everything's set. The Mujin-to was roughly ten times brighter than a candle and came complete with a glass globe to prevent flickering. With its large fuel tank it gave three to four continuous hours of light.

Sales climb steadily as Hisashige expands his lineup.

Being so handy, the Mujin-to lamp became a big favorite with Osaka's ever-busy merchants, and soon it was selling like hot cakes. Eventually Hisashige produced seven different models of various sizes that he advertised with illustrated leaflets. There was a low-priced version with a round wick, medium- and large-sized versions with a flat wick, a beautifully ornamented decorative model, and a version designed to give craftsmen enough light with which to perform meticulous tasks by hand. Later, Hisashige even came out with an extra-large model.

This well-rounded lineup, so carefully tailored to different customer requirements, goes to show that Hisashige was also a marketing pioneer who left no demand unaddressed. The instructions, stating that any lamp found to be defective would be exchanged or repaired, testify to how strongly committed Hisashige was to quality and to putting the customer first. His Mujin-to transformed the nights into a productive time when people could continue to do business and engage in handiwork.

Mujin-to leaflet;excerpt showing product

Reference:
Mujin-to leaflet; excerpt showing product
[collection of Kazuyoshi Suzuki; photo courtesy of the owner]

Choho Mujin-to Yoho-ki ; the lamp's instruction manual

Reference:
Choho Mujin-to Yoho-ki; the lamp's instruction manual
[collection of Kazuyoshi Suzuki; photo courtesy of the owner]

Hisashige moves to Fushimi in Kyoto to make a new start.

Having lost everything he owned in the turmoil that embroiled Osaka, Hisashige moved to the Fushimi district of Kyoto to make a new start. His own bitter experience triggered his interest in fire extinguishing equipment, and he developed a fire pump called the Unryusui ; "cloud dragon water," that used air pressure to shoot water to a height of up to nine meters and enabled the direction of the stream to be freely adjusted.

Unryusui pump

Unryusui pump
[photo courtesy of Toshiba Science Institute]

This high-performance pump was designed to ensure a steady, consistent flow, and it was multifunctional as well. For example, it could spray water in a mist when desired. Hisashige later went on to manufacture several versions in an assortment of sizes, including one designed for use by one person. He also created the Umpaisen ; "cloud cup washer," a device that shot water three to six meters in the air, which could be used to wash drinking cups at banquets or to cool oneself in summer.

Unryusui pump for use by one person

Unryusui pump for use by one person
[collection of the Kurume City Board of Education;
photo courtesy of the Board]

Hisashige studies astronomy and mathematics and deepens his technical knowledge.

Hisashige spent a decade in Fushimi starting in 1837, and during that time he acquired the scientific knowledge he needed to become a truly cutting-edge technologist. With the goal of mastering what was then the pinnacle of the gadget maker's profession — the craft of building clocks — he also studied astronomy, the calendar, and Japanese traditional mathematics.

He studied with his friend Michimoto Toda, an expert in astronomy and mathematical principles, and with the Tsuchimikado clan, which was famous for its expertise in astronomy and the calendar. Harnessing the advanced new skills he had acquired, he then broke into the market for Japanese clocks. While clearly talented, Hisashige's greatest asset was his relentless effort.

Taiko-dokei ; drum clock (reproduction) On the hour, the drum sounds and the cock announces the time.

Taiko-dokei; drum clock (reproduction) On the hour,
the drum sounds and the cock announces the time.
[Toshiba Science Museum;
photo courtesy of the Museum]

Reference:
Mujin-to leaflet; excerpt showing product [collection of Kazuyoshi Suzuki; photo courtesy of the owner]

Reference:
Choho Mujin-to Yoho-ki ; the lamp's instruction manual [collection of Kazuyoshi Suzuki; photo courtesy of the owner]

Man-nen Dokei - The Zenith of Hisashige's Career

The Man-nen Dokei (Man-nen Jimeisho) chronometer, completed in 1851, showcases Hisashige's clock-making expertise.

Hisashige opens a shop in Kyoto, the Kiko-do, where his passion for invention intensifies.

Man-nen Jimeisho

Reference:
Man-nen Jimeisho [property of Toshiba Corporation;
on loan to the National Science Museum]

Having attained further renown with the success of his revolutionary Mujin-to lamp, Hisashige Tanaka decided to expand operations. He opened a store called Kiko-do in the Shijo-Karasuma quarter of Kyoto, where he launched full-scale production of the Mujin-to lamp and pocket candlestand. Although Hisashige was already a successful inventor, his enthusiasm for invention increased and he continued to develop his skills as a clockmaker. Kiko-do advertising from this time showcases what might fairly be described as Hisashige's masterworks — the Man-nen Jimeisho chronometer, Shumisen-gi; model of the Buddhist universe, and the Unryusui pump. This lineup truly represented the zenith of his career.

Japan's first planetarium: a model of the Buddhist universe built at the request of a senior Buddhist monk.

Japan's first planetarium, the Shumisen-gi; model of Mount Sumeru, was created by Hisashige in 1850 at the request of a senior member of the Buddhist clergy. It was designed to illustrate the cosmology of Indian Buddhism, which places Mount Sumeru at the center of the Buddhist universe. According to the advertisement, the device allows observation of the advance of time over the course of the year in the movement of the constellations, the progress of the four seasons and sunrise and sunset.

In its conceptualization and meticulous craftsmanship, this piece perfectly exemplifies Hisashige's knowledge and creative flair. During this period, Hisashige also produced many other ingenious mechanical timepieces including the Makura-dokei; pillow clock, and Taiko-dokei; drum clock. His skills and ideas as a clockmaker were approaching their apogee, and they would soon all be channeled into construction of the Man-nen Jimeisho, the finest traditional Japanese-style clock ever built.

  • Leaflet for the Kiko-do
  • Shumisen-gi

Reference:
(left) Leaflet for the Kiko-do [National Science Museum]
(right) Shumisen-gi [property of Ohashi Watch; on loan to the Seiko Institute of Horology]

The Man-nen Jimeisho perpetual clock exhibited in Toshiba Science Museum is a replica. It's mechanical motion can be observed. The original Man-nen Jimeisho is exhibited in the National Science Museum (motion observation not available).

The inscription inside Man-nen Jimeisho reads "tanaka oumi [i.e., hisashige], resident of kyoto."

Reference:
The inscription inside Man-nen Jimeisho reads
"tanaka oumi [i.e., hisashige], resident of kyoto."

The long-running, multifunctional Man-nen Jimeisho (Man-nen Dokei) chronometer: the crowning achievement of traditional Japanese clockmaking.

The Man-nen Jimeisho chronometer showed time as never before.

Imagine a device measuring 60 cm high and weighing 38 kg, with six different clocks built into six different faces. All the clocks move synchronously when wound, and are powered by a pair of clockwork mechanisms housed in the base, which is sumptuously decorated with cloisonné. Estimates show that the clock will run for a year on a single winding. On the top are two metal spheres, representing the sun and moon, which follow paths in accordance with the seasonal diurnal motion of those two heavenly bodies viewed from Kyoto.

Such are the elements integrated into Hisashige's greatest masterpiece, the Man-nen Jimeisho, which he built in the years 1850-51. Today it is owned by Toshiba, which has loaned it to the National Science Museum for exhibition. A detailed description of the functions of the clock and planetarium is provided in the clock's user's manual, Banzai Jimeisho Rokumen Yoho Zu.

Leaflet on Man-nen Jimeisho

Leaflet on Man-nen Jimeisho
[National Science Museum]

The Man-nen Jimeisho user's manual, the Banzai Jimeisho Rokumen Yoho Zu

Reference:
The Man-nen Jimeisho user's manual, the Banzai Jimeisho Rokumen Yoho Zu
[National Science Museum]

The ultimate combination of functionality and ornamentation. How it all works.

FACE 1

FACE 1

The outer dial and hand show the hour according to the traditional Japanese method of telling time. The inner dial and hand show the exact season according to the traditional oriental division of the year into twenty-four parts.

FACE 2

FACE 2

Here you supply the date, according to the old Japanese calendar, of each of the twenty-four seasonal divisions for the year in question. The dial can be tilted forward, allowing you to peek inside while adjusting the chime with the knob on the right.

FACE 3

FACE 3

There are two dials and hands, for showing the day of the week and for adjusting the chime, respectively.

FACE 4

FACE 4

This face indicates the date according to the traditional oriental sexagenary cycle (a combination of one of the lunar ten calendar signs and one of the twelve signs of the Chinese zodiac).

FACE 5

FACE 5

The outer dial shows the day of the month according to the old Japanese calendar. The silver and black globe in the middle revolves to indicate the waxing and waning of the moon.

FACE 6

FACE 6

Embedded here is a French (or, according to one theory, Swiss) pocket watch, whose escapement mechanism is linked with all the other clocks so that all six faces work together.

Note:
Face 1 refers to the clock face that shows the hour according to the traditional Japanese method. Faces 2 to 6 follow clockwise.

PLANETARIUM

PLANETARIUM

Above a detailed map of Japan, two small spheres mimic the diurnal motion of the sun and the moon synchronized with the time. The two spheres vary in height with the season.

THE CLOISONNÉ WORK

The sides of the base in which the clockwork is embedded are decorated with four motifs in cloisonné: a tortoise, a rooster, a drum, and a rabbit. The cloisonné work, with filigree in brass and silver, is absolutely exquisite; it is easy to imagine the effort and expense that went into it.

FACE 1

FACE 1

FACE 2

FACE 2

FACE 3

FACE 3

FACE 4

FACE 4

FACE 5

FACE 5

FACE 6

FACE 6

POWER SOURCE

POWER SOURCE

The cloisonné decorated base conceals a pair of brass double clockwork mechanisms that power the clock. The mechanism at the back drives the hands. Wind it up once, and the Man-nen Jimeisho should run for roughly a year. The mechanism at the front is for the chime.

Saga-Kurume Period - The Third Turning Point

The times beckon Hisashige to leave the consumer business for public service.

At age fifty-four, the tide of history brings Hisashige to the third major turning point in his life.

Joki-sen Hinagata; model of a paddle-wheel steamship

Reference:
Joki-sen Hinagata; model of a paddle-wheel steamship
[collection of the Nabeshima Hoko Kai Foundation]

In the mid nineteenth century, Japan remained closed to the world, with Nagasaki the only port open to foreign trade. The task of garrisoning Nagasaki fell to the nearby feudal domain of Saga, which as a result became particularly attuned to advanced scientific developments abroad. In 1850, under the direction of its feudal lord, Naomasa Nabeshima, Saga succeeded in building Japan's first reverberating furnace and used it to cast iron.

Then in 1852, the domain established a physics and chemistry research institute, called Seirenkata, which investigated technologies such as the steam engine. Naomasa's trusted adviser Tsunetami Sano, an expert in Western science, invited Hisashige and two other talented individuals to the Saga domain to work on further technological advances.

Hisashige, who wished for nothing more than to immerse himself in the latest technology, decided to make the move to Saga, where, he believed, he would be able to pursue the work dearest to his heart. Now fifty-four, he set out from Kyoto to find a new stage for his talents.

Naomasa (Kanso) Nabeshima

Naomasa (Kanso) Nabeshima
[photo courtesy of the Nabeshima Hoko Kai Foundation]

Tsunetami Sano

Tsunetami Sano
[photo courtesy of Haruzane Yamaryo]

Reverberating furnace in Tafuse (present-day Isemachi, Saga City)

Reference:
Reverberating furnace in Tafuse (present-day Isemachi, Saga City)
[collection of the Nabeshima Hoko Kai Foundation; photo courtesy of the Foundation]

The arrival of Commodore Perry ushers in the age of modern science in Japan.

In 1853, a flotilla of four warships under the command of American East India Fleet Commodore Perry landed at Uraga to demand that Japan abandon its longstanding policy of national isolation and open its doors to foreign trade. The stark realization of the vast gap in scientific knowledge between Japan and the rest of the world generated a greater thirst than ever for new technology. Relocated to Saga, Hisashige was now working at Seirenkata, where, under the direction of Tsunetami Sano, he grappled with one new technological challenge after another: assembling models of steamships and a steam locomotive, experimenting with the telegraph, and manufacturing glass.

Until then, Hisahige's work had been in the consumer business, catering to private households with devices like clocks and the Mujin-to lamp. The switch to public service must have seemed enthralling indeed in terms of both the technological potential and the sheer scale involved. The finances of Saga domain were strapped, and Seirenkata came in for harsh criticism from some quarters; even so, it achieved steady success, including the building of three boilers on behalf of the Shogun's government.

Depiction of Saga domain's Seirenkata research institute showing the model steam carriage being given a test run

Reference:
Depiction of Saga domain's Seirenkata research institute showing the model steam carriage being given a test run
[collection of the Nabeshima Hoko Kai Foundation; photo courtesy of the Foundation]

From inventor to technologist in the service of a feudal lord: In Saga, Hisashige undertakes more ambitious projects than ever.

When verifying new knowledge from the West, the first step of the Seirenkata research team around Hisashige Tanaka was to construct a model. This approach to a correct understanding of the principles behind how things work — first formulate a hypothesis, then test it — differs not a bit from the method followed today, even though technology now is vastly more advanced.

One outcome of these efforts was the model of a steam carriage shown in the photo. This locomotive was modeled on one brought by a Russian warship that arrived in Nagasaki in 1853. Hisashige and his team also built models of two types of steamship with different propulsion systems, one a paddle wheel, the other a screw design.

The construction of these models was motivated by more than mere technical curiosity; they were designed for trial runs, and inspired by a clear vision of the future. Indeed, Hisashige and his colleagues succeeded in building an actual steamship, the Ryofumaru, in 1865.

Joki-sya Hinagata; model of a steam locomotive

Joki-sya Hinagata;
model of a steam locomotive
[collection of the Nabeshima Hoko Kai Foundation]

Joki-sen Hinagata; model of a screw-propelled steamship

Joki-sen Hinagata;
model of a screw-propelled steamship
[collection of the Nabeshima Hoko Kai Foundation; photo courtesy of the Foundation]

Picture of the Ryofumaru

Reference:
Picture of the Ryofumaru
[collection of the Nabeshima Hoko Kai Foundation; photo courtesy of the Foundation]

Hisashige displays his technical prowess in his birthplace of Kurume.

Enthuasiastic approval for modernization was spreading rapidly throughout Japan. The domain of Kurume, Hisashige Tanaka's birthplace, was no exception. To share the advantages of advanced technology, it would need to recruit highly skilled technical expertise. Fortunately, the Saga domain where Hisashige had achieved such stunning success was located right next door, and the Kurume domain approached the Saga authorities and Hisashige himself to enlist his services. So earnest were its overtures that Hisashige made up his mind to return to his old home. Despite his advanced age, his enthusiasm for science and technology had not waned in the least, and he assumed the post of director of the new factory just built by the Kurume domain.

Hisashige's inventions extend to traditional industries.

Upon taking up his new duties in the Kurume domain, Hisashige invented an impressive assortment of devices, including a machine for irrigating rice paddies and fields located at high elevations; Japan's first artificial ice maker; a device called the "keyless lock;" a sophisticated new machine for manufacturing Kurume-gasuri fabric; and the so-called Roshimeki. Needless to say, Hisashige kept abreast of the latest technology as well.

Ever since constructing a telegraph ; Eseruterekarafu, at Seirenkata, he had pursued a special interest in communications technology. However, the fast-running tide of the times did not allow him to linger long in provincial Japan. He was about to arrive at another major turning point in his life.

The keyless lock

The keyless lock
[collection of the Kurume City Board of Education; photo courtesy of the Board]

Needle telegraph "Eseruterekarafu"

Reference:
Needle telegraph "Eseruterekarafu" (Isahaya city tangible cultural property)
[property of the soda family]

Tokyo Period - Establishment of Toshiba

Toshiba originated in a small shop-cum-factory in Ginza.

Toshiba's history begins in the telegraph factory Hisashige built in Ginza.

Ad for Tanaka Engineering Works

Reference:
Ad for Tanaka Engineering Works
[National Science Museum]

In 1872, Hisashige received a request from his apprentice Seisuke Tanaka urging him to come to Tokyo. The government needed every technician it could obtain to work on expanding the country's telegraph system, and Hisashige's expertise was sorely required. When he arrived in the capital, he opened a factory and set to work manufacturing the Henry telegraph. This machine was equal in quality to any import from abroad, and its excellence came to the notice of the government.

Then, on July 11, 1875, Hisashige opened a new shop-cum-factory in the Ginza district, an area dominated by red-brick structures. This date marks the founding of Toshiba as it exists today. Hisashige went on to manufacture telegraph equipment as well as other devices, such as the Hoji-ki, an instrument that emitted a time signal at noon. In 1881, he died of old age in his eighty-second year. A dreamer to the last, he had led a productive life in the never-ending pursuit of new inventions.

Upon his death, his apprentice Daikichi Tanaka succeeded to his business as Hisashige II; in 1882 Daikichi founded Tanaka Engineering Works; later Shibaura Engineering Works, in Shibaura. The foundations of today's Toshiba were fully established.

Hisashige's factory in its early days (located at what is now Ginza 8-chome in Chuo Ward)

Hisashige's factory in its early days (located at what is now Ginza 8-chome in Chuo Ward)

Hoji-ki

Hoji-ki
[collection of Communications Museum]

Shibaura Engineering Works

Reference:
Shibaura Engineering Works
[photo reproduced from An Illustrated History of Japanese Culture, Vol. 11, Meiji]

Hisashige's life coincided exactly with the era in which Japan shook off the stifling bonds of the past and advanced along the path of modernization. The restless curiosity and passion that he bequeathed to Toshiba still live on today in the heart and soul of the company.

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