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HOME PROFILE GALLERY HISTORY URUSHI PROCESS DECORATION CONSERVATION LESSON WORKSHOP EVENTS TREATMENTS RASH ! COPYRIGHT/REFERENCES LINKS |
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| PROCESS BASIC URUSHI PROCESS |
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 Fig. P1 kiji, body |
BASIC URUSHI PROCESS In basic urushi process there are around 50 phases. All those different
phases are developed during the last 9,000 years to make strong urushiware.
Well made urushiware lasts more than 100 years, possibly even another several
thousand years. To find the terms between (....) brackets, click here. 1. Fig. P1 Ψn΅¦@kiji-zoroe : after making the base body, irregular areas and sharp edges are sanded down if required. 2. €θ@kokuso-bori : engrave the joint parts and knots superficially. |
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 Fig. P3 ki-gatame |
3. Fig. P3 ΨΕί@ki-gatame : rub ki-urushi (T) onto the surface, and wipe off if required, then dry it in the furo. 4. ©’@kokuso-kai : fill kokuso (c) in gaps in the joints and knots and drying it on room temperature. After drying the surface is flattened. 5. ψnt―@hikikomiji-tsuke : the surface of the kokuso is filled with hikikomiji which is a mixture of tonoko (d'), jinoko (d"), ki-urushi (T) and water: then dry it on room temperature. 6. ψn€¬@hikikomiji-togi : after the hikikomiji has dried it is flattened with whetstone #400 and water. |
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 Fig. P7 nuno-kise |
7. Fig. P7 z
Ή@nuno-kise : glue the cloth (1)/(2) with nori-urushi (a) onto the reinforcement areas of
the body and dry it on room temperature. 9. ήηΌ΅@mura-naoshi : whet the surface of the cloth to level the surface. |
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 Fig. P10 makiji |
10. Fig. P10 ͺn@makiji :
put makiji on the blanc parts. Paint that particular part with ki-urushi (T) or nakanuri-urushi (A), immediately followed by spreading jinoko (d") or sumiko (charcoal powder) and dry it in the furo. In this way the surface of the plain wood becomes of a rougher texture
which makes it easier to put on the next layer ji. 11. zΪCθ@nunome-zuri : plaster the whole surface thinly with sabi, a mixture of tonoko (d'), ki-urushi (T) and water. Depending on the form, a spatula or brush is used and dried on room temperature. |
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 Fig. P14 ji-uwazuke |
12. nΊt―@ ji-shitazuke :
spread ji which is a mixture of jinoko (d"), ki-urushi (T) and water, evenly with a spatula or brush and dry it on room temperature. 13. nσ€¬@ji-karatogi : whet the surface with whetstone # 400 without water and dust off thoroughly. 14. Fig. P14 nγt―@ji-uwazuke : spread the second layer of ji evenly with a spatula or brush and dry it on room temperature. 15. n €¬@ji-mizutogi : whet the surface smoothly with a # 400 whetstone and water. 16. nΕί@ji-gatame : rub ki-urushi (T) onto the surface, and wipe it off if required then dry it in the furo. |
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 Fig. P19 kiriko-uwazuke |
17. Ψ²Ίt―@kiriko-shitazuke :
spread kiriko-ji (the same material as hikikomi-ji ) which is a mixture of tonoko (d'), jinoko (d"), ki-urushi (T) and water evenly with a spatula or brush, then dry it on room
temperature. 18. Ψ²σ€¬@kiriko-karatogi : whet the surface with whetstone # 600 without water and dust it off thoroughly. 19. Fig. P19 Ψ²γt―@kiriko-uwazuke : spread the second layer of kiriko-ji evenly with a spatula or brush and dry it on room temperature. 20. Ψ² €¬@kiriko-mizutogi : whet the surface smoothly with whetstone # 600 and water. 21. Ψ²Εί@kiriko-gatame : rub ki-urushi (T) onto the surface, and wipe it off if required, then dry it in the furo. |
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 Fig. P24 sabi-uwazuke |
22. KΊt―@sabi-shitazuke : spread sabi, a mixture of tonoko (d'), ki-urushi (T) and water evenly with a
spatula or brush, then dry it on room temperature. 23. Kσ€¬@sabi-karatogi : whet the surface with whetstone # 800 without water and dust it off thoroughly. 24. Fig. P24 Kγt―@sabi-uwazuke : spread the second layer of sabi evenly with a spatula or brush and dry it on room temperature. 25. K €¬@sabi-mizutogi : level the surface perfectly by whetting it with whetstone # 1000 and water, so no irregularity remains. |
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 Fig. P26 sabi-gatame |
26. Fig. P26 KΕί@sabi-gatame : rub ki-urushi (T) onto the surface, and wipe it off if required, then dry it in the furo. | |
 Fig. P27 nakanuri |
27. Fig. P27 first h@nakanuri : filter the nakanuri-urushi (A, B or C) and paint it evenly, then dry it in the furo. |
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 Fig. P28 nakanuri-togi with #1000 |
28. Fig. P28 first h€¬@nakanuri-togi with # 1000 : It is tradition to use special charcoal, but here synthetic whetstones
are used to show the difference in result of process easily. Whet the surface
with whetstone # 1000 and water. 29. second nakanuri : filter the nakanuri-urushi and paint the second layer of nakanuri evenly, then dry it in the furo. 30. second nakanuri-togi # 1000: whet the surface with whetstone # 1000 and water. 31. third nakanuri : filter the nakanuri-urushi and paint the third layer of nakanuri evenly, then dry it in the furo. 32. third nakanuri-togi # 1000 : whet the surface with whetstone # 1000 and water. 33. fourth nakanuri : filter the nakanuri-urushi and paint the last layer of nakanuri evenly, then dry it in the furo. 34. fourth nakanuri-togi with # 1000 : whet the surface with whetstone # 1000 and water. |
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 Fig. P35 nakanuri-togi with #1500 |
35. Fig. P35 last@h€¬@nakanuri-togi with #1500 : level the surface perfectly by whetting it with whetstone #1500 and water, so no irregularity remains. Attention must be paid to that the layers below should not come through while whetting, not even a small area. If this stage fails the working process is must be repeated from phase 33. | |
 Fig. P36 uwanuri |
Fig. P36 γh@uwanuri : filter the uwanuri-urushi (D, E, F or H) and paint it evenly, then dry it in the furo. | |
 Fig. P37 uwanuri-togi with #1500 |
37. Fig. P37 γh€¬@uwanuri-togi with #1500 : level the surface perfectly by whetting it with whetstone #1500 and water, so no irregularity remains. Attention must be paid that the layers below should not come through while whetting, not even a small area. If this stage fails the working process must be repeated from phase 37. | |
 Fig. P38 uwanuri-togi with #2000 |
38. Fig. P38 γh€¬@uwanuri-togi with # 2000 : when the uwanuri-togi with the #1500 whetstone is succeeded, whet it with a whetstone #2000, This sequence is essential because the #2000 fades away the small scratches caused by the #1500. | |
 Fig. P39 uwanuri-togi with #3000 |
39. Fig. P39 γh€¬@uwanuri-togi with # 3000 - # 4000 : whet with # 3000 and # 4000 whetstones in due order. This sequence is essential because the #3000 fades away the small scratches caused by the #2000 and the #4000 alternately fades away the small scratches caused by the #3000. Eventually the surface will become smooth without any scratches. | |
 Fig. P40 dozuri-polishing |
40. Fig. P40 ·Cθ@dozuri-polishing : smoothen the surface by polishing it with
dozuri-paste and a soft cloth. This dozuri-paste is said to be of
better quality when purchased on the market. In case of self-making, a mix of
elutriated whetstone powder and non-drying plant oil is used. In Japan colza oil is very popular, but in my experience pure olive oil is
even better and there is no need to use expensive oil. After dozuri, the oil is washed off with neutral detergent and rinsed carefully with plenty of water. After drying it is wiped thoroughly with petroleum ether. |
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 Fig. P46 suri-urushi |
41. first ½@suri-urushi : apply the protection layers during the suri-urushi process. Dilute the kijomi-urushi (V) with camphor and rub it onto the surface with a cotton tampon. Then kijomi-urushi is wiped off thoroughly with soft tissues. This is the first layer of suri-urushi and it is left in the furo for 3 hours or longer. After this, the process of suri-urushi, wiping off and drying is repeated four times. With every layer the kijomi-urushi is thickened by reducing the amount of camphor, and the drying time is shortened as well. 42. second suri-urushi : apply suriurushi layer as phase 41 again. |
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 Fig. P50 tsuyaage-glossing |
47. first γ°@tsuyaage-glossing : when the fifth layer has dried for 95% the object is quickly
taken out from the furo and glossed with glossing paste and a soft cloth. There are good
glossing pastes available on the market, although products with silicone
deserve some caution. According to traditional technique, deer horn powder
and non-drying plant oil as olive oil are used for glossing. It is important
to let the deer horn powder absorb the oil completely, so that no oil remains
after glossing. |
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