天然素材である「漆」を使った家具には、独特の質感・艶・存在感があります。

漆を纏うことによって、その家具自身の奥底から醸しだす、独特な深さ・艶やかさが表現できます。

Furniture using natural material “URUSHI” has a unique texture, gloss and presence.

We can make unique depth · glossiness like coming out of the depths of furniture itself. It is a possible expression by URUSHI, which distinguishes it from other painting methods.

モリシゲは、漆の魅力を引き出す様々な技法に 精通し、伝統工芸士の熟練の技を、現代の生活に合った仕様とデザインの家具に取り入れています。

漆塗り技術を洋家具にまで取り入れた「塗り」の技術こそが、我が社のアイデンティティーの一つです。

Morishige is familiar with various techniques that bring out the charm of URUSHI. We are a furniture maker that can project the skill of traditional craftsman to furniture at a high standard in modern times of the 21st century.

“NURI” technology that incorporates URUSHI into Western furniture is our company’s identity.

本堅地(ほんかたじ)と呼ばれる最も堅牢な下地法で、木地の割れや狂いを防ぎます。

充分な木材の乾燥と高度な木地づくりが必要になりますが、それら全ての工程を社内で一貫して行えるため、高水準の製品製作が実現できています。

The most robust foundation method called “HONKATAJI” prevents cracks and madness in woodlands.

It is necessary to dry the wood thoroughly and advanced technology to make a mirror-like surface, but since all these processes can be done consistently within the company, we can realize high-level product production.

漆塗りの製作工程は「髹漆(きゅうしつ)」と呼ばれます。下地は漆塗の基礎となる最も重要な工程。

また漆塗りは、下地→中塗→上塗と、塗っては乾かしてまた磨き、幾重にもこの作業を繰り返す、根気と忍耐のいる仕事。熟練の技術が、これらを可能にしています。

The lacquer coating process is called “KYU-SHITSU”. The most important step that forms the foundation of lacquering.

In addition, the lacquer painting is a work that has perseverance and perseverance, underlaying -> middle coating -> top coat, painting and drying, polishing again, repeating this work repeatedly. Skilled skills make these possible.

日本の自然とともにWith a part of Japan’s nature.

「木」の国であり、寒暖差が激しく梅雨のある日本では、「漆」その技術があったからこそ崩れず守られてきた文化財が多くあります。日本の気候風土に適した塗料として、様々な生活用具に活用されてきました。

Japan is a country of “wood”. In Japan with severe temperature difference and severe rain there are many cultural properties that have been protected without collapse thanks to lacquer. It has been adopted for painting and coating various living tools as a paint suitable for the climate of Japan.

香川漆芸Kagawa’s lacquer artistry

蒟醬(キンマ)Kinma

蒟醬(キンマ)

蒟醬(キンマ)は元来、籃胎(竹を薄く削って編んだ素地)に漆を塗り重ねたもので、その発生地は竹細工に関する歴史が最も古いミャンマーだと伝えられています。わが国に渡来したのは室町時代中頃が始まりといわれています。蒟醬の技法は名匠、玉楮象谷の手によって研究が重ねられ、天保四年にわが国ではじめて作られました。蒟醬は挽物、指物、刳物、籃胎を素地として布着せを施した後、堅地をつけ、下塗、中塗、上塗と漆を数十回、丹念に塗り重ね、塗面に厚みをもたせます。そして鋭敏なケンと称する特殊な刀で模様を線彫りし、その後に色漆を埋めて乾かし、炭研ぎして余分な漆を取り去ると線彫りした模様の部分だけ色漆が残り、上塗り面と模様が平坦になります。繊細、華麗、優雅さ趣きはまさに漆塗の最高峰ともいうべきものです。昭和51年に国の伝統的工芸品に指定されました。

“KINMA” was originally painted URUSHI on thin bamboo knitted fabric. It is said that its place of origin is Myanmar with the oldest bamboo work history. It is said that it came to Japan in the middle of the Muromachi period. The technique of KINMA was studied by the hands of a master, ZoukokuTamakaji, and was made for the first time in our country in the 4th year of Tenpo. KINMA applies clothing with HIKIMONO, SASHIMONO, KURIMONO, RANTAI as a base, then turns on KATAJI, paints several times the undercoat, middle coat, top coat and URUSHI carefully, carefully paints the painted surface thick. Then, if the pattern is carved with a special sculpture sword named sharp KEN, the URUSHI is buried and then dried, and the extra URUSHI is removed with the charcoal, URUSHI remains only in the pattern of the line-carved pattern, and the top coat surface the pattern becomes flat. Delicate, brilliant, elegance, taste is exactly what is called the highest peak of URUSHI painting. It was designated as a traditional handicraft of Japan in Showa 51.

彫漆(ちょうしつ)Cyoushitsu

彫漆(ちょうしつ)

彫漆(ちょうしつ)は堆朱、堆黒、紅花緑葉など、器物の表面に重ねられた漆の層を彫り、立体感のある美しい模様を作り出す技法の総称として使われるようになった名称で、技法は中国の唐代に始まったと伝えられています。漆塗の中で一番漆の性質や特長を生かした技法です。何層にも色漆を塗り重ね、その回は数十回、あるいは二百回以上に及ぶこともあります。百回塗っても漆の厚みは3ミリくらいしか肉付けされないため、膨大な時間と丹念な作業が必要になります。何層にも塗り重ねられた色漆の層を考慮しながら、精密に計算されたケンの動きによって、絵模様を彫っていきます。忍耐力、繊細な神経がゆき届いた名品が数多く制作され、かつては重要無形文化財彫漆技術保持者(人間国宝)音丸耕堂氏を生み、現在も幾人もの名匠がこの世界で活躍されています。昭和51年に国の伝統的工芸品に指定されました。

“CHO-SHITSU” carves URUSHI layers superimposed on the surface of objects such as “Tsuishu”, “Tsuikoku”, “Kouka-Ryokuyo”, so that it can be used as a generic name of techniques for creating beautiful patterns. It is said that the technique started with the Tang Dynasty of China. It is the technique which made the best use of URUSHI’s nature and features in painting. Paint URUSHI in many layers, and that time may reach dozens of times, more than 200 times. Even if painted a hundred times, the thickness of URUSHI is only fleshed about 3 mm, so enormous time and careful work is needed. Considering the layer of URUSHI painted in many layers, carve the pattern by the precise calculation of KEN movement. Perseverance and delicate nerves have been carefully crafted, and in the past birth of the human national treasure · KoudouOtomaru, several masters are active in this world now. It was designated as a traditional handicraft of Japan in Showa 51.

存清(ぞんせい)Zonsei

存清(ぞんせい)

存清(ぞんせい)は中国の名工「存清」が専ら制作したものでその姓名が技法の名称になったと伝えられています。わが国に伝来したのは室町中期で、その頃は珍品として一部の貴族の間でしか愛好されませんでした。天保年間、玉楮象谷が中国の存清漆器に触れ、感銘し張成や存清の技法を本格的に究明し苦心研鑚の末、わが国古来の漆塗技法を加味し遂には純日本的な存清をつくりあげました。明治初期には、象谷の後を受け継いだ実弟、藤川黒斎により産業化され讃岐存清漆器の名が世に広まったのです。存清の技法は黒地、赤地、黄地などの漆の表面に色漆で模様を描き、その図案の輪郭をケンで毛彫りしたり、金泥で隈取りするものなどがあります。自由性に富み、しかも気品のある風雅な趣きをそなえた香川独特の漆塗技法です。昭和51年に国の伝統的工芸品に指定されました。

“ZONSEI” was produced by a Chinese craftsman “ZONSEI”, it is said that the name became the name of the technique as it was. It was the middle period of the Muromachi era that came to Japan, at that time some of the aristocrats only loved it. In the era of TENPO, ZoukokuTamakaji touched the instrument of ZONSEI in China, impressed and studied the technique in earnest, after having struggled, he made pure Japanese-style ZONSEI with consideration of ancient Japanese techniques. In the early Meiji period, industrialized by a younger brother, FujikawaKokusei, who inherited Zoukoku, the name of SANUKI – ZONSEI spread to the world. The technique of ZONSEI is to draw a pattern on the surface of URUSHI such as black, red, yellow, etc and to engrave the contour of the design with KEN or to KUMADORI with KONDEI. KAGAWA’s distinctive URUSHI technique which is rich in liberty and has a graceful and elegant taste. It was designated as a traditional handicraft of Japan in Showa 51.

後藤塗(ごとうぬり)Gotou-nuri

後藤塗(ごとうぬり)

明治のはじめ頃、高松の藩士 後藤太平翁が発案した特異な朱の塗りで梧桐塗とも書き、はじめは趣味的に制作したものでした。現代の後藤塗は太平翁が発案した後藤塗を更に発展させたもので、中塗をした上に朱漆に少量の蝋色漆を添加し渋味をつけた漆にして薄く塗り、直ちに指先などで縦横にたたいて特殊な斑文を作り、さらにその上に透漆を薄く塗り込んで仕上げたものです。完成された直後の後藤塗は全体に黒っぽく朱色がわずかにちらちらと見える程度ですが、歳月が経つにつれて透漆が透明度を増し、中塗の時に指先でたたいた斑文の効果がだんだんと発揮されてきます。このため朱色は鮮やかに発色し、透漆にも濃淡がでて優美な色合いと光沢にますます磨きがかかり後藤塗りの真価が遺憾なく発揮されてくるのです。昭和51年に国の伝統的工芸品に指定されました。

In the Meiji period at beginning, TaheiGoto, a clan san of Takamatsu, invented a unique red painting, which was originally created as a hobby. Contemporary GOTO-Nuri was further developed by Tahei’s GOTO-Nuri, it was painted thinly with URUSHI with an astringent taste by adding a small amount of waxy URUSHI to the red URUSHI after the intermediate coating, Tap on the side and side with a fingertip to make a special plaque, and finally finished with thin transparent URUSHI on top. Immediately after being completed GOTO-Nuri is so dark that the vermillion appears slightly flickering, but transparent URUSHI increases in transparency over the course of the years, the effect of the plaque gradually hitting at the fingertips gradually It will be demonstrated. As a result, red color vividly develops, shades appear also in transparent URUSHI, refined to the elegant shade and luster, the true value of GOTO-Nuri will be demonstrated without regret. It was designated as a traditional handicraft of Japan in Showa 51.

象谷塗(ぞうこくぬり)Zoukoku-nuri

象谷塗(ぞうこくぬり)

香川漆芸の始祖、玉楮象谷翁が中国伝来の漆器を究明し、そこにわが国古来の技法を加味して作り出した技法です。名称も象谷翁の名前から取り、「象谷塗」と呼ばれています。木地固めをした素地に生漆を塗った後、池や川辺に自生するイネ科植物の真菰(まこも)にクロボ菌が寄生した茎から取れるセピア色の粉末をまいてこも打ち・こも払いをし、摺り漆を施して仕上げをしたものです。昭和51年に蒟醬、存清、彫漆、後藤塗とともに国の伝統的工芸品の指定を受けた象谷塗は、堅牢にして素朴雅美にとんだ民芸風の漆器で、一見乱雑にみえる模様の線と独特の諧調は、見るたびにその人に興味深い陰影を発見させてくれ、また使えば使うほどに色と艶が現われて渋味を深めます。丸盆や茶托などの日用品のほか、モダンな家具にも象谷塗の趣きが生かされています。

Kagawa’s founder of URUSHI technology, ZoukokuTamakaji has studied lacquerware that has arrived from China and created techniques that add Japanese ancient techniques. After painting the raw URUSHI on the wood consolidated base, we wrapped the sepia powder which can be taken from the stem infested by KUROBO bacteria in the “MAKOMO” of the grass family native to the pond and river side, and “KOMO-UCHI” and “KOMO-BARAI” was done, SURI-URUSHI was applied and finished. ZOUKOKU-Nuri who received the designation of the traditional crafts of Japan in Showa 51, is a lacquerware like a rustic,and elegant style with a traditional arts style, the seemingly cluttered pattern lines and distinctive gradations, It makes people discover interesting shadows, and color and gloss appear more to the extent that they are used, deepening the astringent taste. In addition to daily necessities such as a round tray and tea ceremony, the taste of ZOUKOKU-Nuri is also utilized for modern furniture.

金彩蒔絵(きんさいまきえ)Kinsai-makie

金彩蒔絵(きんさいまきえ)

漆は英語で「japan」と表現されるように主要な日本の工芸として認知を受けています。漆樹から採取される優れた天然塗料「漆」には独特の質感、光沢とまろやかな手ざわり、気品に満ちた風格が備わっています。中国から朝鮮を経て、仏教とともに伝えられた漆芸は、長い歴史のなかで研鑽され、沈金や蒔絵など日本独特の技法を生みだしました。なかでも蒔絵は代表的な加飾技法の一つで、平安時代中期から貴族を中心に寺社の装飾・仏具・調度品などで盛んに用いられ、鎌倉時代には武士に、江戸時代には一般庶民にも広く普及し、多くの名品が誕生しました。金彩蒔絵の技法は、漆の表面に漆で模様を描き、それが乾かないうちに金粉を蒔くことで固着させ磨いて仕上げたものです。その繊細で雅な美しさは日本だけではなく、ヨーロッパを中心に世界中で愛されています。

URUSHI is recognized worldwide as a major Japanese craft. The natural paint “URUSHI” collected from the tree has a unique texture, gloss and mellow texture, elegant style. URUSHI, which was delivered to Japan from China via Korea, was polished in a long history, and produced unique techniques in Japan such as “CHINKIN” and “MAKIE”. Among them, MAKIE is one of the representative decorative techniques, it was used actively for decorations of temples and shrines, buddhist furniture, furniture etc, mainly from aristocrats from the middle of the Heian era, to samurai in the Kamakura period and to samurai in the Edo period It was widely spread to the general public, and many famous items were born. Kinsai-Makie’s technique is to draw a pattern with URUSHI on the surface of URUSHI, to fix it by sowing gold powder before drying it, polished and finished. Its delicate and elegant beauty is loved all over the world, not only in Japan but mainly in Europe.

讃岐彫り(さぬきぼり)Sanuki-bori

讃岐彫り(さぬきぼり)

讃岐彫りは寛政年間に堆朱・堆黒の名匠、玉楮象谷翁によって始められたものと言われています。象谷翁は幼少の頃、鞘塗師である父理右衛門の膝元で漆技の修業をするとともに好んで彫刻を学び、33歳にして犀角材印篭に蓮花、鳥、虫などを実に1806個の物象を彫刻し、藩主松平頼恕に献じて帯刀を許されるほどでした。讃岐彫りは鎌倉彫りの改良で鎌倉彫りのように全体に彫り出してしまわずに平面を彫刻刀を使って高い部分と低い部分を作り、それによって模様をくっきりと出し、その上にスリ漆塗りを数回ほどこし、模様の部分に色漆で彩色を施し乾燥後、こも打ちをして仕上げたものです。昭和4年には堅塗り物として全国に認められていた後藤塗りを肩丸卓机に応用し阪神方面のデパートに展示したところ、後藤塗の上品な味わいと讃岐彫りの力強い風格と重厚な感じが大変人気を呼びました。

“SANUKI-Bori” is said to be started by ZoukokuTamakaji in the era of KANSEI. As a child, ZoukokuTamakaji studied URUSHI technology at the same time as a father who was a sheathist, while simultaneously likewise learned sculpture techniques. At the age of 33, he sculptured 1806 items such as flowers, birds, insects, etc.in the pill box made by rhinoceros horn, and dedicated to the lord, YorihiroMatsudaira, to be allowed to sword. SANUKI-Bori is an improved version of KAMAKURA-Bori, without using the entire carving like KAMAKURA-Bori, using a sculpture sword to make high and low parts on the plane, thereby making the pattern sharp SURI-URUSHI on it, applying it a few times, coloring it with URUSHI on the pattern part, drying it, then finishing it with “KOMO-UCHI”. In Showa 4 year, “GOTO-Nuri” was applied to a round table, and it was exhibited in a department store in Osaka, the elegant taste of “GOTO-Nuri” and the powerful style and heavy feeling of SANUKI-Bori gained popularity.