URUSHI FOUNTAIN PENS

The traditional colors of Japan trace their historical origins to the Twelve Level Cap and Rank System which was established in 603 by Prince Shōtoku and based on the five Chinese elements. In this system, rank and social hierarchy were displayed and determined by certain colors. Colors known as kinjiki (禁色, “forbidden colors”) were strictly reserved for the robes of the highest ranking government officials; for example, the color Ōtan (orange) was used as the color for the robes of kuge and use by any other lower rank was prohibited. Colors known as yurushiiro (許し色, “permissible colors”) were permitted for use by the common people.

Most names of colors originate from the names of plants, flowers, and animals that bore or resembled them. Certain colors and dyeing techniques have been used since the Asuka period, while others had been developed as late as the Meiji period when synthetic dyes became common.

Due to the long history of use of this color system, some variations in color and names do exist. Many of the names of these colors originate from Chinese culture, where the hierarchical color system is even more complex.

https://en.wikipedia.org/wiki/Traditional_colors_of_Japan

Raden is a decorative technique that uses the iridescent parts of seashells like abalone, turban shells, and pearl oysters, which are shaved very thinly. Ra means a spiral shell and den means to decorate. The technique was conveyed to Japan from China about 1300 years ago, and marvelous examples can be seen at the Shoso-in Treasure House in Nara.
The seashell used for raden is classified as either thin or thick. Thin shell pieces are obtained by rubbing with a whetstone or simmering and peeling off the shell surface. They are no more than 0.1 millimeters in thickness. Gold or silver can also be applied to the reverse side of the shell so that it seems to glow from within.
Thick shell pieces are made by rubbing seashells flat with a whetstone, and approximately one millimeter thick. The special beauty of raden comes from the contrast between the jewel-like luster of seashells and the deep tones of the lacquer.

Negoro refers to rustic and simple lacquerware that has been coated with black lacquer and then layered with a topcoat of red lacquer. Items often made using this technique include tables, trays and bowls. This lacquering style was originally applied to utensils used by monks in training at Negoro-ji, a Zen temple that prospered from the Kamakura period (1185-1333 CE) to the Muromachi period (approx. 1336-1573 CE). Negoro lacquerware offers an ever-changing beauty. Over the years, as it is used, the red lacquer fades to gradually reveal the black lacquer beneath.

For fountain pens, the wear is created by carfully wet sanding the red layer of urushi.

Tamenuri is an ancient traditional Japanese urushi technique.

Translucent urushi is applied to the special base coating, resulting in a unique deep patina which will naturally lighten and mature with use over time.

“Tame” means “pool” and “nuri” refers to the lacquer coating process. You can actually see through the layers of clear urushi lacquer as if you were looking into a pool. The black color is also mixed with translucent urushi to create darker coating.

When the process is finished, you can still see the base surface of colored urushi. After this coating process, the surface is polished by hand in order to attain greater transparency, allowing you to clearly see the underlying colored usurshi surface.

Nashiji – nuri technique that fixes irregular flakes of gold and silver. Nashiji is a Japanese Urushi lacquer that requires special conditions for curing.

Mixes with nashiji can be used to create tamenuri effect.

 Sakurakawa nuri technique. Is an urushi Tamenuti technique called ‘cherry bark lacquer’ . This technique imitates the color and surface of a cherry tree bark. In Japan the bark of the cherry tree has been used to decorate objects called “kabazaiku”, tea and kitchen utensils like tea caddies, trays but also small furnitures, sword sheets, calligraphy brushes, smoking accessories and more.

Dry Urushi powder is sprinkled on a fresh layer of Urushi, after curring is covered with sveral layers of urushi.

The final goal is to create a stone like texture.

Additonal technique can be used, tamenuri or sprinke the surface with metal powder.

Tsugaru Nuri is the traditional lacquerware of the Tsugaru region in Aomori prefecture, centralized in Hirosaki city. Lacquerware crafts in Tsugaru has an extensive history dating back to the Edo period (1603 ~1868). The four styles practiced today are the Kara-nuri, Nanako-nuri, Monsha-nuri, and Nishiki-nuri.

Kara-nuri is the most popular style of Tsugaru Nuri and has the longest history. Kara-nuri is characterized by the speckled spots made using a special pallet knife with multiple circular holes. The lacquer is applied using this special tool, dried, then polished, a process that is repeated over and over again.
Each product is a one-of-a-kind item due to the intricate and time-consuming nature of the craft. This uniqueness is one of the highly valued features of Tsugaru Nuri.
The word “kara” of Kara-nuri stands for something that is unique and exceptional.

Nanako-nuri is made using togidashi kawarinuri, a method in which the pattern design is made with seeds. When the first layer of colored lacquer is applied on the base, seeds are scattered across the surface to make small circles while still wet. The seeds are removed once the lacquer dries. The lacquer is then polished thoroughly to bring out the elegant circular shapes in the Edo komon style (designs with small elaborate patterns used for kimono during the Edo period). The term “nanako” originates from the resemblance of the circular shapes to nanako, or fish eggs

Seirei – Nuri translates to Dragonfly wing pattern.

Raw Urushi (Ki Urushi) is applied on the wooden surface, wiped and cured. The process is appled several time till the wood is saturated. A glosse surface can be applied or let to shine naturally.

Kijiro urushi also can be used to show off the beauty of the underlying woodgrain. Applied several time it will darken the surface and produce more deep effect.