Kyoto Hikibaku 京都引箔
Hikibaku is a yarn of Japanese paper, it is used as a material in Kyoto Nishijin’s brand heritage textiles. Sometimes called “The Colors of Kyoto”, dated more than 300 years ago, Hikibaku is created by finely cutting washi paper that has gold, silver, and other metals glued using lacquer which can express a variety of colors used in Kimono Obi (belt) design. The art of Hikibaku creates an abstract painting with depth and splendor by making full use of metallic foil materials and lacquer. Hikibaku paper was originally invented for weaving Obi belts, now we can use it for interior, art, etc.
Collaborative Project : Nishimura Shoten
Hikibaku 是一種日本紙紗線，它被用作京都西陣品牌遺產紡織品的材料。 有時被稱為“京都的色彩”，可追溯到 300 多年前，Hikibaku 是通過精細切割將金、銀和其他金屬用漆粘在一起的和紙製成的，這種漆可以表現和服帶（腰帶）中使用的各種顏色 設計。 Hikibaku的藝術充分利用金屬箔材料和漆器，創造出具有深度和輝煌的抽象繪畫。 Hikibaku紙最初是為編織腰帶而發明的，現在我們可以將它用於室內裝飾、藝術等。
Luoyang Sancai 洛陽三彩
Tang Sancai (Tri-colored) pottery has been produced for over 1,300 years. The distinctive red, green, and yellow colors display the unique style of the potters of the Tang Dynasty. It represented a peak in the development of Chinese ceramics and was already well-known in the world in its time. Tang Sancai (Tri-colored) Pottery was developed some 1,300 years ago by drawing on the skills of Chinese painting and sculpture and employing on the bodies the techniques of clay-strip forming and incising. The lines thus produced were rugged and powerful. Then glazes of different colors were painted on and, while chemical reactions took place in the process of firing in the kiln, they dripped naturally so that the colors mingled with each other and formed smooth tones.
Collaborative Project : Louyang Sancai Art Museum
唐三彩（三彩）陶器已有1300多年的歷史。 鮮明的紅、綠、黃三色，展現了唐代陶藝家的獨特風采。 它代表了中國陶瓷發展的一個高峰，在當時已享譽世界。 唐三彩（三彩）陶器是在1300多年前，借鑒中國繪畫和雕塑技術，並在主體上採用泥條成型和切割技術而發展起來的。 這樣生產出來的線條堅固而有力。 然後塗上不同顏色的釉料，在窯內燒製過程中發生化學反應，自然滴下，使顏色相互交融，形成光滑的色調。
Sahari Orin佐波 理 お り ん
The art of “Sahari” which is an alloy of tin, copper has been imported to Japan 1300 years ago. Starting from the Edo period (1603-1868) Buddhist altars (so-called “Butsudan”) became common in almost every household in Japan. Every “butsudan” included a singing bowl – “Orin”. It was believed that by making the orin chime one can communicate with Buddha and “Stop the evil, purify the place and banish the demons”. “Sahari” stands for an alloy of copper and tin, but only alloys with a very high ratio of tin are considered true “Sahari”, created by a technique known since 1843. Only one item can be created of a single mold and 180 different techniques are involved, which makes manufacturing of “Sahari” a time-consuming and tedious process. With the crucial contribution of Kazuya Nanjo, one of Japan’s prominent masters of Orin making, who uses the techniques of his forefathers since 1839 in Kyoto. The tradition transferred through generations brings us the authentic sound that is able to calm down the heart and heal the soul. The sound of orin becomes even better as time passes by.
Collaborative Project: Kazuya Nanjo