Search results

Ryogiri AraiShu (Web-exclusive model）

It is designed with the image of the logs for a log house.

The color “Arai-shu” is a different kind and quaint brighter vermilion from “Shu (vermilion)”. “Arai-shu” means a light vermilion color because the color becomes lighter after washing the dyed cloth. The color can be said close to orange red. The color range is wide, from a vermilion like reddish color to a salmon pink kind of color are called “Arai-shu”.
It is one of the colors that became popular in the late Edo period with the revival of Yamato-e.

Ryogiri ShuNurihanashi (Web-exclusive model）

It is designed with the image of the logs for a log house.

The most traditional color of urushi, “Shu(vermilion)” is used and made it matte finish.
“Nuri-hanashi (unpolished)” is the technique without polishing after painting. It requires very high level techniques because there are no post processes.

Writer Long Izumi no Kami Kanesada　

The design is modeled after the sword mountings (“koshirae”) of Toshizo Hijikata’s beloved sword, “Izumi no Kami Kanesada”.
The body was painted using a technique called “Honshu Kanshitsu Kuronurikomi Togidashi”, apply black lacquer to vermilion “ishime” and polish. A phoenix motif is drawn on the barrel with charcoal powder, and a peony motif is drawn on the cap with black lacquer.
The both tips of the pen are made to look like a scabbard tip of sword, “kojiri”, and are finished with charcoal powder to make them matte and fringe it with gold.
For the grip section, a paper mulberry leaf is drawn with silver on a charcoal powder finish base, and draw the veins of the leaf with black lacquer on it, then applied transparent blackish amber lacquer and polished it.
Using various techniques, we have created a piece that resembles the real sword mountings of the sword.