LINK
http://edoflourishing.blogspot.jp/2014/10/woodwork-in-edo.html
http://edoflourishing.blogspot.jp/2014/10/woodwork-in-edo.html
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woodwork in Edo
Edo Moku-Chokoku (Wood Sculptures) 江戸木彫刻
Edo Moku-Hanga (Woodblock Prints) 江戸木版画
Edo Sashimono (Wood Joinery) 江戸指物
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Moku-Chokoku 江戸木彫刻 Wood Sculptures
■ Traditional Technologies and Techniques
1- For three-dimensional sculptures, the design is drawn directly on all four working surfaces. When preparing to carve deep-set reliefs or other works, working surface designs are drawn on paper using charcoal or a brush, etc
2- When selecting timber, the craftsman pays close attention to the working surface of the wood, the reverse side of the wood and natural features such as knots.
3- Chisels and engraving knives are used for wood carving, there being a work progression from rough carving to medium carving, and then finishing work. When the craftsman does light-set reliefs or other work, the process commences with medium carving tasks.
4- When doing three-dimensional sculptures or deep-set reliefs, finishing involves the planing of the work. For light-set reliefs or other work, finishing involves either planing or polishing with scouring rushes.
■ Traditionally Used Raw Materials
Zelkova, Camphor, Cypress, Sandalwood, Paulownia, Cherry, etc.
■ History and Characteristics
The history of sculpture is very old. According to one theory, sculpting as a craft commenced along with the arrival of Buddhism in Japan in around the 6th century.
From the Heian through the Kamakura Periods (approx. 794-1333), there were a lot of Buddhist statues carved. Over time there was also a transformation from delicate and beautiful works admired by the aristocracy, to a flourishing of works that embodied the perceived heroism and ethos of the military classes.
On entering the Muromachi Period (1336-1573), the aesthetic simplicity of Zen Buddhism which did not require statuesque iconography came to the forefront. Therefore, the demand for statue sculptures was dwarfed by the demand for sculptures of decorative taste that could be applied to the pillars and transoms of shrines and temples. This field of application saw rapid development. Furthermore, during the Azuchi-Momoyama and early Edo Periods, a master carpenter called Hidari Jingoro rose to prominence.
Concerning architectural sculpting, in that it was a trade originally engaged in by carpenters, during the Edo Period from among the ranks of the master carpenters there was born a new class of craftsman called miyachoshi (literally "palace sculptors"). These artisans specialized in the carving of decorative reliefs.
Whereas sculptors of Buddhist statues had previously separated the use of chisels and carving knives, the work of this new class of craftsman focused on the use of chisels.
Concerning buildings resplendent with sculpture in the vicinity of old Edo, the Yomei-mon Gate of Toshogu Shrine in Nikko is but one example.
During the Meiji Era (1868-1912), as western buildings began to appear in Japan, craftsmen who had previously been involved in the production of Buddhist iconography and the decoration of shrines and temples began to turn their attention to the carving of decorations in the western style. In the Diet Building constructed in the early Showa Era, there is a masterpiece of sculpting that was executed by a team of 300 craftsmen over period of more than three years.
Various timber species including Zelkova, Cypress, Cherry and Camphor, etc., are used in sculpting. Furthermore, the quality of finished work is as much dependent on preliminary sketches as on the carving skills of the craftsman. If the intent is to sculpt work that is in good taste, then in addition to an understanding of pictures and writing, the craftsman also requires knowledge of a wide range of other topics such as the Japanese art of the tea ceremony and flower arrangement.
Edo Wood Carving / Japan Wood Carving Federation
- source : www.sangyo-rodo.metro.tokyo.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Moku-Hanga 江戸木版画 Woodblock Prints
■ Traditional Technologies and Techniques
1- Artist (drawing of art)
The original drawing, known as a hanshita, is a simple draft on thin paper which is created using black ink only. In that multiple colors will be applied to the artwork one at a time during the printing process, one copy of the hanshita is required for each color to be used. Once a hanshita drawing is created for each color, those areas to which that color is to be applied when printing are indicated using a light vermilion shading. Such areas shall remain raised (uncarved during the carving process).
2- Carver (woodblock carving)
A hanshita drawing is pasted to a woodblock and the woodblock is then placed on the carving table. A carver's knife is used to carve the picture from the inner portion moving outward (starting at the center). Finally a special orientation reference mark known as a kento is engraved into the block. The kento helps align each individual woodblock during the printing process. The carving process is repeated in order to produce a carved woodblock for each of the colors to be printed. The color-specific hanshita are used during trial printing.
3- Printer (application of colors)
Color pigments dissolved in water are applied to the surface of a carved woodblock using brushes. Paper is then placed face-down over the inked woodblock, and a disk-like hand tool called a baren is used to apply pressure to and rub the reverse side of the paper. The color-specific woodblocks created during trial printing are used to apply colors one at a time.
■ Traditionally Used Raw Materials
Woodblocks (cherry wood), Japanese traditional paper (predominately made from paper mulberry), color pigments (black, vermilion, red, green, purple, indigo, pink, gray)
■ History and Characteristics
The Moku-Hanga (woodblock print) has an especially long history in Japan. Among the artifacts of the Shosoin Treasure House in Nara Prefecture, there is a picture of foreign origin that depicts such printing processes being employed to print designs on clothing approximately 1,200 years ago.
Furthermore, a woodblock print known as Hyakumanto Darani ("One Million Pagodas and Dharani Prayers") was also produced at around the same time.
Woodblock printing first achieved general acceptance when the nation entered the Edo Period (1603-1868), as Hishikawa Moronobu (1631-1694) began to produce ukiyo-e prints. At around the same time, the separation of production skills into those of the artist, the wood carver and the printer also occurred.
Initially only simple prints were produced (works printed from a single woodblock using black ink only). Later on, a method was devised for using vermilion in order to create color prints called tan-e. The use of more complex colors became established as time passed. From around the Tempo Era (1716-1735), beautiful hand-painted pictures called urushi-e (lacquer pictures) and beni-e (rouge-red pictures) began to be sold in Edo's markets.
Around the end of the Kanpo Era (1741-1743), a method of printing two-tone pictures in red and green was developed. Then, in the second year of the Meiwa Period (1765), Suzuki Harunobu (1725-1770) developed nishiki-e (brocade pictures). This represented a high-water mark for woodblock printing, no-longer was it a case of printing in just two or three colors. Rather, polychrome printing in 10 or more colors had arrived on the scene.
Woodblock printing techniques then approached completion as artists such as Kitagawa Utamaro (1753-1806) and Sharaku (details unknown) created prints that were both graphic and offered elaborate expressionism. Moreover, at the end of the Edo Period, the landscapes of artists such as Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858) demonstrated thoroughly the colorful nature of woodblock prints.
Ukiyo-e hanga (ukiyo-e prints) represent a form of artistic expressionism in which an artist, a woodblock carver and a printer come together to work as one. The artist draws the original drawing on a thin piece of washi (traditional Japanese paper). Using a carver's knife, the carver then carves the drawing that has been affixed to a woodblock (usually cherry wood). The carver repeats this process for each color to be printed. The work is then completed by the efforts of the printer who sets the paper to the inked woodblock and then uses a baren to apply pressure to it.
Please note that modern creative hanga prints in which a single person completes all production processes are not considered to be part of the traditional Moku-Hanga (woodblock print) craft.
Tokyo Traditional Wood-Block Print Craft Association
- source : xxx
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Sashimono 江戸指物 Wood Joinery
■ Traditional Technologies and Techniques
1- 板の接合 - Furniture joinery techniques used in the production of Edo Sashimono include hagitsugi 矧接 (butted joints), hashibame 端嵌 接 (tongue and groove joints), hirauchitsugi 平打接 (flat braid joints), kumitetsugi 組手接 (box joints) and tometsugi 留接(wedge joints).
2- 框（棒）の接合 - The jointing of furniture frames involves aikakitsugi 相欠接 (halving joints), hozotsugi ほぞ接 (tenon joints) and tometsugi 留接 (wedge joints).
3- 塗り - When Edo Sashimono is lacquered, the following techniques are used:
・Fuki-urushi 拭漆: Raw lacquer is rubbed into the wood with a cotton cloth or brush and immediately wiped off before hardening. Repetition results in a coating that protects and strengthens the wood and highlights the beauty of its grain.
・Roiro-nuri ろいろ塗り: A polishing technique giving a high gloss. It is carried out by rubbing with a very fine abrasive such as pulverized deer horn applied to a cloth moistened with lacquer.
・Nuritate 塗り立 : A technique of applying a finishing coat of lacquer and allowing it to harden without subsequent polishing.
・Mehajiki-nuri 目弾き塗り: The application of lacquer to open-grained wood like Paulownia or Zelkova in such a manner that it is repelled by the grain, which thus remains visible.
If decorated, techniques such as maki-e 蒔絵 (sprinkled pictures) and raden 螺鈿(mother-of-pearl inlays) are used.
■ Traditionally Used Raw Materials
The following types of wood are used in the manufacture of Edo Sashimono: Mulberry, Zelkova, Paulownia and Cypress. Other timbers with similar properties may also be used.
木地は、クワ、ケヤキ、キリ、スギ又はこれらと同等の材質を持つ用材とする。
Natural lacquers are used. 漆は、天然漆とする。
■ History and Characteristics
"Sashimono" is a term derived from the traditional practice of using a woodwork ruler (or a "monosashi" in Japanese) to carefully measure timber materials in order to create box-shaped items of furniture, such being equipped with precise-fitting lids and drawers.
In Kyoto, the "sashimono" tradition enjoys a very long history, it being possible to trace the associated joinery skills back to the court culture of the Heian Period (approx. 794-1185). In those days, such furniture was made by hand by carpenters. The "sashimono" skills of dedicated "sashimonoshi" (specialized furniture joiners) evolved from the Muromachi Period (1337-1573) onwards, as furniture such as shelving, chests of drawers and desks all saw greater usage in samurai households. Furthermore, in accordance with the development of the tea-ceremony culture, it is said there was an increased demand for box-shaped items of furniture such as "sashimono".
Thus, the craft of the "sashimonoshi" 指物師 diverged from the carpentry profession along with a number of other artisan trades including "toshoji" 戸障子 (craftsmen of doors and shoji screens), "kudenshimiyashi" kuden shi miya shi 宮殿師みやし （宮大工） (craftsmen specializing in temple and shrine work) and "himonoshi" 桧物師ひものし or "magemonoshi" 曲物師 (craftsmen of bentwood products).
In Kyoto, "sashimono" developed into furniture that was used within the imperial court and among the aristocracy, as well as being used within the context of the tea ceremony. It was also loved as a genre whose designs touched on matters of elegance and simplicity.
By contrast, Edo Sashimono saw service with samurai families such as those of the Shogun and of the various daimyo (the feudal lords). Furthermore, much "sashimono" was made for the merchant class that rose from the middle of the Edo Period (1603-1868), and also for the use of Edo's Kabuki actors (in the form of theatrical chests).
The true spirit of craftsmen can be felt in Edo Sashimono in a number of ways. Firstly, there is the use of timbers with beautiful grains such as Mulberry, Zelkova and Paulownia, etc. Secondly, there is the skillful use of techniques even in locations that cannot be seen. Thirdly, there is an almost total absence of nails in the construction of "sashimono".
Behind the "sashimono" skills summarized as the arts of cutting, planing, sealing and carving, it is possible to feel the uniqueness of the craftsmen.
In that timber, derived from a living organism is what is used in the production of Edo Sashimono, the variety of unique adjectives such as "hardness," "sweetness," "dullness," "subtleness," "well-rounded," and "raw," etc., that could be used to describe the timber might be said to tell a story in themselves.
Edo Sashimono Cooperative Association
- source : www.sangyo-rodo.metro.tokyo.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
woodwork in Edo
Edo Moku-Chokoku (Wood Sculptures) 江戸木彫刻
Edo Moku-Hanga (Woodblock Prints) 江戸木版画
Edo Sashimono (Wood Joinery) 江戸指物
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Moku-Chokoku 江戸木彫刻 Wood Sculptures
■ Traditional Technologies and Techniques
1- For three-dimensional sculptures, the design is drawn directly on all four working surfaces. When preparing to carve deep-set reliefs or other works, working surface designs are drawn on paper using charcoal or a brush, etc
2- When selecting timber, the craftsman pays close attention to the working surface of the wood, the reverse side of the wood and natural features such as knots.
3- Chisels and engraving knives are used for wood carving, there being a work progression from rough carving to medium carving, and then finishing work. When the craftsman does light-set reliefs or other work, the process commences with medium carving tasks.
4- When doing three-dimensional sculptures or deep-set reliefs, finishing involves the planing of the work. For light-set reliefs or other work, finishing involves either planing or polishing with scouring rushes.
■ Traditionally Used Raw Materials
Zelkova, Camphor, Cypress, Sandalwood, Paulownia, Cherry, etc.
■ History and Characteristics
The history of sculpture is very old. According to one theory, sculpting as a craft commenced along with the arrival of Buddhism in Japan in around the 6th century.
From the Heian through the Kamakura Periods (approx. 794-1333), there were a lot of Buddhist statues carved. Over time there was also a transformation from delicate and beautiful works admired by the aristocracy, to a flourishing of works that embodied the perceived heroism and ethos of the military classes.
On entering the Muromachi Period (1336-1573), the aesthetic simplicity of Zen Buddhism which did not require statuesque iconography came to the forefront. Therefore, the demand for statue sculptures was dwarfed by the demand for sculptures of decorative taste that could be applied to the pillars and transoms of shrines and temples. This field of application saw rapid development. Furthermore, during the Azuchi-Momoyama and early Edo Periods, a master carpenter called Hidari Jingoro rose to prominence.
Concerning architectural sculpting, in that it was a trade originally engaged in by carpenters, during the Edo Period from among the ranks of the master carpenters there was born a new class of craftsman called miyachoshi (literally "palace sculptors"). These artisans specialized in the carving of decorative reliefs.
Whereas sculptors of Buddhist statues had previously separated the use of chisels and carving knives, the work of this new class of craftsman focused on the use of chisels.
Concerning buildings resplendent with sculpture in the vicinity of old Edo, the Yomei-mon Gate of Toshogu Shrine in Nikko is but one example.
During the Meiji Era (1868-1912), as western buildings began to appear in Japan, craftsmen who had previously been involved in the production of Buddhist iconography and the decoration of shrines and temples began to turn their attention to the carving of decorations in the western style. In the Diet Building constructed in the early Showa Era, there is a masterpiece of sculpting that was executed by a team of 300 craftsmen over period of more than three years.
Various timber species including Zelkova, Cypress, Cherry and Camphor, etc., are used in sculpting. Furthermore, the quality of finished work is as much dependent on preliminary sketches as on the carving skills of the craftsman. If the intent is to sculpt work that is in good taste, then in addition to an understanding of pictures and writing, the craftsman also requires knowledge of a wide range of other topics such as the Japanese art of the tea ceremony and flower arrangement.
Edo Wood Carving / Japan Wood Carving Federation
- source : www.sangyo-rodo.metro.tokyo.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Moku-Hanga 江戸木版画 Woodblock Prints
■ Traditional Technologies and Techniques
1- Artist (drawing of art)
The original drawing, known as a hanshita, is a simple draft on thin paper which is created using black ink only. In that multiple colors will be applied to the artwork one at a time during the printing process, one copy of the hanshita is required for each color to be used. Once a hanshita drawing is created for each color, those areas to which that color is to be applied when printing are indicated using a light vermilion shading. Such areas shall remain raised (uncarved during the carving process).
2- Carver (woodblock carving)
A hanshita drawing is pasted to a woodblock and the woodblock is then placed on the carving table. A carver's knife is used to carve the picture from the inner portion moving outward (starting at the center). Finally a special orientation reference mark known as a kento is engraved into the block. The kento helps align each individual woodblock during the printing process. The carving process is repeated in order to produce a carved woodblock for each of the colors to be printed. The color-specific hanshita are used during trial printing.
3- Printer (application of colors)
Color pigments dissolved in water are applied to the surface of a carved woodblock using brushes. Paper is then placed face-down over the inked woodblock, and a disk-like hand tool called a baren is used to apply pressure to and rub the reverse side of the paper. The color-specific woodblocks created during trial printing are used to apply colors one at a time.
■ Traditionally Used Raw Materials
Woodblocks (cherry wood), Japanese traditional paper (predominately made from paper mulberry), color pigments (black, vermilion, red, green, purple, indigo, pink, gray)
■ History and Characteristics
The Moku-Hanga (woodblock print) has an especially long history in Japan. Among the artifacts of the Shosoin Treasure House in Nara Prefecture, there is a picture of foreign origin that depicts such printing processes being employed to print designs on clothing approximately 1,200 years ago.
Furthermore, a woodblock print known as Hyakumanto Darani ("One Million Pagodas and Dharani Prayers") was also produced at around the same time.
Woodblock printing first achieved general acceptance when the nation entered the Edo Period (1603-1868), as Hishikawa Moronobu (1631-1694) began to produce ukiyo-e prints. At around the same time, the separation of production skills into those of the artist, the wood carver and the printer also occurred.
Initially only simple prints were produced (works printed from a single woodblock using black ink only). Later on, a method was devised for using vermilion in order to create color prints called tan-e. The use of more complex colors became established as time passed. From around the Tempo Era (1716-1735), beautiful hand-painted pictures called urushi-e (lacquer pictures) and beni-e (rouge-red pictures) began to be sold in Edo's markets.
Around the end of the Kanpo Era (1741-1743), a method of printing two-tone pictures in red and green was developed. Then, in the second year of the Meiwa Period (1765), Suzuki Harunobu (1725-1770) developed nishiki-e (brocade pictures). This represented a high-water mark for woodblock printing, no-longer was it a case of printing in just two or three colors. Rather, polychrome printing in 10 or more colors had arrived on the scene.
Woodblock printing techniques then approached completion as artists such as Kitagawa Utamaro (1753-1806) and Sharaku (details unknown) created prints that were both graphic and offered elaborate expressionism. Moreover, at the end of the Edo Period, the landscapes of artists such as Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858) demonstrated thoroughly the colorful nature of woodblock prints.
Ukiyo-e hanga (ukiyo-e prints) represent a form of artistic expressionism in which an artist, a woodblock carver and a printer come together to work as one. The artist draws the original drawing on a thin piece of washi (traditional Japanese paper). Using a carver's knife, the carver then carves the drawing that has been affixed to a woodblock (usually cherry wood). The carver repeats this process for each color to be printed. The work is then completed by the efforts of the printer who sets the paper to the inked woodblock and then uses a baren to apply pressure to it.
Please note that modern creative hanga prints in which a single person completes all production processes are not considered to be part of the traditional Moku-Hanga (woodblock print) craft.
Tokyo Traditional Wood-Block Print Craft Association
- source : xxx
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edo Sashimono 江戸指物 Wood Joinery
■ Traditional Technologies and Techniques
1- 板の接合 - Furniture joinery techniques used in the production of Edo Sashimono include hagitsugi 矧接 (butted joints), hashibame 端嵌 接 (tongue and groove joints), hirauchitsugi 平打接 (flat braid joints), kumitetsugi 組手接 (box joints) and tometsugi 留接(wedge joints).
2- 框（棒）の接合 - The jointing of furniture frames involves aikakitsugi 相欠接 (halving joints), hozotsugi ほぞ接 (tenon joints) and tometsugi 留接 (wedge joints).
3- 塗り - When Edo Sashimono is lacquered, the following techniques are used:
・Fuki-urushi 拭漆: Raw lacquer is rubbed into the wood with a cotton cloth or brush and immediately wiped off before hardening. Repetition results in a coating that protects and strengthens the wood and highlights the beauty of its grain.
・Roiro-nuri ろいろ塗り: A polishing technique giving a high gloss. It is carried out by rubbing with a very fine abrasive such as pulverized deer horn applied to a cloth moistened with lacquer.
・Nuritate 塗り立 : A technique of applying a finishing coat of lacquer and allowing it to harden without subsequent polishing.
・Mehajiki-nuri 目弾き塗り: The application of lacquer to open-grained wood like Paulownia or Zelkova in such a manner that it is repelled by the grain, which thus remains visible.
If decorated, techniques such as maki-e 蒔絵 (sprinkled pictures) and raden 螺鈿(mother-of-pearl inlays) are used.
■ Traditionally Used Raw Materials
The following types of wood are used in the manufacture of Edo Sashimono: Mulberry, Zelkova, Paulownia and Cypress. Other timbers with similar properties may also be used.
木地は、クワ、ケヤキ、キリ、スギ又はこれらと同等の材質を持つ用材とする。
Natural lacquers are used. 漆は、天然漆とする。
■ History and Characteristics
"Sashimono" is a term derived from the traditional practice of using a woodwork ruler (or a "monosashi" in Japanese) to carefully measure timber materials in order to create box-shaped items of furniture, such being equipped with precise-fitting lids and drawers.
In Kyoto, the "sashimono" tradition enjoys a very long history, it being possible to trace the associated joinery skills back to the court culture of the Heian Period (approx. 794-1185). In those days, such furniture was made by hand by carpenters. The "sashimono" skills of dedicated "sashimonoshi" (specialized furniture joiners) evolved from the Muromachi Period (1337-1573) onwards, as furniture such as shelving, chests of drawers and desks all saw greater usage in samurai households. Furthermore, in accordance with the development of the tea-ceremony culture, it is said there was an increased demand for box-shaped items of furniture such as "sashimono".
Thus, the craft of the "sashimonoshi" 指物師 diverged from the carpentry profession along with a number of other artisan trades including "toshoji" 戸障子 (craftsmen of doors and shoji screens), "kudenshimiyashi" kuden shi miya shi 宮殿師みやし （宮大工） (craftsmen specializing in temple and shrine work) and "himonoshi" 桧物師ひものし or "magemonoshi" 曲物師 (craftsmen of bentwood products).
In Kyoto, "sashimono" developed into furniture that was used within the imperial court and among the aristocracy, as well as being used within the context of the tea ceremony. It was also loved as a genre whose designs touched on matters of elegance and simplicity.
By contrast, Edo Sashimono saw service with samurai families such as those of the Shogun and of the various daimyo (the feudal lords). Furthermore, much "sashimono" was made for the merchant class that rose from the middle of the Edo Period (1603-1868), and also for the use of Edo's Kabuki actors (in the form of theatrical chests).
The true spirit of craftsmen can be felt in Edo Sashimono in a number of ways. Firstly, there is the use of timbers with beautiful grains such as Mulberry, Zelkova and Paulownia, etc. Secondly, there is the skillful use of techniques even in locations that cannot be seen. Thirdly, there is an almost total absence of nails in the construction of "sashimono".
Behind the "sashimono" skills summarized as the arts of cutting, planing, sealing and carving, it is possible to feel the uniqueness of the craftsmen.
In that timber, derived from a living organism is what is used in the production of Edo Sashimono, the variety of unique adjectives such as "hardness," "sweetness," "dullness," "subtleness," "well-rounded," and "raw," etc., that could be used to describe the timber might be said to tell a story in themselves.
Edo Sashimono Cooperative Association
- source : www.sangyo-rodo.metro.tokyo.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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