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Question concerning hara-ate construction


Birdman

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I want to try to make a replica of a hara-ate dou. Figured on using 18 gauge CRS for the plates, and rivetting it together. However, I am wondering if any were made with protruding rivets, as on some okegawa dou I have seen, or if they were all flush-rivetted. I am trying to make it as authentic-looking as possible, with regards to available materials (obviously, I can't use urushi or kashu lacquer, as both are banned from import into the USA, and hand-hammered and forged plates would be seriously cost-prohibitive). Eventually, I want a complete set of ashigaru armor that can be worn as well as displayed (I wouldn't want to wear antique armor - I'd be afraid of accidentally chipping the lacquer against something, besides being sized for the average Japanese...).

 

Can any of you who are familiar with armor please help me out with this?

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??? WHERE DID YOU FIND IT ??? I've been looking all over the internet, and all the places I checked said "out of stock" on both urushi and kashu. Various articles I found on the subject said that urushi was banned from import due to its toxicity, and kashu was just banned from export from Japan last fall by Japanese regulations. Heck, if I can get real black and red urushi, that would be great!

 

How much area will a tube cover, anyway? I'll need some for my rawhide jingasa, as well, when I make it...

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I usually get mine from Hyper-Cafe. They do get low stock now and then but they generally replenish. They're out of black urushi now but they have the red, and they have at least one tin of the black cashew lacquer as of a few minutes ago.

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Great looking dou Eric !

 

About the Urushi, i think that the export of CASHEW Urishi paint was banned from Japan. At least according to Kevin's site.

 

So normal regular Urushi can be bought, also at Namikawa.

 

What i do not know however is how Urushi should be diluted and applied, because on my old Zunari shell it looks like it was applied in at least 7 layers with a ground layer of other clayish material.

 

KM

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Arigato gozaimasu!

 

Eric, it looks like the rivets are visible on the dou in the first photo. Could you possibly post a photo with close-ups of those, please?

 

Hyper-cafe is one of the places I checked, but last time I checked them they were out of EVERYTHING in the lacquer department. Guess I will just have to keep checking in every week (or every few days) until they restock.

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Arigato gozaimasu!

 

Eric, it looks like the rivets are visible on the dou in the first photo. Could you possibly post a photo with close-ups of those, please?

There is a link to all the photos I have along with the pictures. Did you see it?
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There is a kink to all the photos I have along with the pictures. Did you see it?

I dunno... sounds kinda KINK-y to me! :rotfl:

 

Seriously, I did miss the link. Thanks! I also managed to contact A.J. Bryant, who has the http://www.sengokudaimyo.com website. Good site, with information on the construction of Japanese armor (and other info as well). He says that dome-headed rivets are perfectly acceptable on a hara-ate.

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Thank you for the site Malcolm

 

I did write to her some time ago but the lady first said she only wanted trainees to be 18-35 and when i asked she said that to become a proper urushi/maki-e painter it took over 10 years so i was too old and then she used some strange calculation with my age to come up with a course fee which was a little too high for me.

 

KM

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So, any clues how to dillute Urushi lacquer ? The tubes i have seen for sale are rather small...
You don't - at least not like Western lacquer - except for Irizeshime, Ki-urushi thinned with camphor.

 

Working with Urushi is a difficult and time-consuming process, years of proper training are needed to master this craft. You don't just buy a tube of Urushi, "dillute" it and happily paint away.

 

It seems to become an awkward habit of mine to quote myself time and again, but FWIW, here we go again:

 

Japanese lacquer is harvested from the lacquer tree (rhus vernicifera) in a fashion similar to harvesting rubber from the rubber tree. That is, a series of slanted cuts are made in the bark, and the viscous, milky white sap flows into a small container attached to the tree. An average of 200 grams can be harvested from a tree per year. The natural sap is then filtered for wood chips and other foreign matter, and this Ki-urushi 生漆 (i.e., raw lacquer) is packed airtight to prevent the sap from turning dark brown and hardening by the exposure to air before it leaves the Urushi-ya 漆屋 (i.e., lacquer-supply shop).

 

Japanese Urushi 漆 consists of 67.3% urushiol (urushic acid, C15H25O2), 5.5% gum, 2.1% nitrogen containing albuminoids, and 25.1% volatile acid and water. The absorption of oxygen by urushic acid in the Muro 室, drying cabinet, leads to the hardening: C15H25O2 + O = C15H25O3, oxyurushic acid. Actually "drying" is a wrong choice of a word, since not the evaporation of moisture hardens Urushi 漆. A chemical reaction takes place due to a laccase enzyme that reacts to urushiol in an environment of 68° ~ 80°F (20° ~ 27°C) and 65 ~ 80% RH, resulting in oxidative polymerization.

 

Urushi 漆 does not adhere well to metal, which also rusts easily in the humid, warm Muro 室. When lacquering armor, the workpiece is heated to 270 ~ 330°F (130° ~ 170°C) for 30 ~ 60 minutes, thus causing heat polymerization not depending on the function of the laccase, and forming a much stronger bond, though this method does not work with wood for obvious reasons.

 

The lacquer tree is a species of sumac and its sap is more or less poisonous. Thus many people develop a rash when exposed to it, sometimes even when only entering a room where Urushi 漆 is processed. A typical lacquer rash occurs when the skin comes in direct contact with uncured Urushi 漆 and urushiol reacts to the skin proteins. For this reason, contact with freshly lacquered items should be avoided for about three months.

 

Ki-urushi 生漆 is colored by adding pigments or oxides, after which it is filtered again. This is repeated until the artist is satisfied with the color achieved. It then is applied with brushes to the Saya 鞘 in a very thin coat (because thick coats do not cure completely) before going into the Muro 室. Depending on the weather and season, the lacquerer maintains the air condition in the Muro 室 for three days, until the lacquer is cured. The Saya 鞘 is then ground and polished, and another thin coat of Urushi 漆 is applied. This procedure is repeated until the coating has the desired thickness and luster.

 

Although the best Ki-urushi 生漆, called Kijōmi 生上味, is produced in Japan, its very limited quantity being harvested there necessitates importation of lacquer from China. Chinese lacquer becomes more brittle with age, but due to the scarcity of Kijōmi 生上味 it accounts for the majority of lacquer used in Japan, at least for foundation lacquering.

 

Even more scarce is Seshime 石漆: While Ki-urushi 生漆 is taken from the trunk of the tree, Seshime 石漆 comes from the branches. A single coat of Seshime 石漆 needs two weeks to dry, and becomes extremely hard with an enamel-like appearance. However, Seshime 石漆 is not used by itself, but mixed with Ki-urushi 生漆 because the high cost and extended curing time renders it impractical for exclusive usage. It was the favorite lacquer for Saya 鞘, but only wealthy customers could afford it.

 

Irizeshime 入石漆 (which, although implying otherwise, is not Seshime 石漆 at all but Ki-urushi 生漆 thinned with camphor) is used for Fuku-urushi 拭漆, "lacquer wiping." This transparent, light brown lacquer is wiped on and off with absorbent cotton, and is used for sealing the wood as well as for the two or three finishing coats.

 

As already mentioned, Urushi 漆 can be colored by adding certain agents such as vermilion for Shu-urushi 朱漆, red lacquer, or a solution made by boiling iron filings in vinegar for Rō-urushi 蠟漆. Kuro-rō-iro 黒蠟色 ("black wax color") is the lustrous, jet-black lacquer we commonly see on many Saya 鞘. Though the lacquerer usually mixes colors himself, Rōiro 蠟色 is the only exception that can be bought ready made from the Urushi-ya 漆屋.

 

The wood core of the Saya 鞘 is first primed with Irizeshime 入石漆, and then covered by a mixture of Urushi 漆, chopped hemp and rice starch. Then a coat of Sabi 錆 is applied, 1.5 parts of Urushi 漆 and 2 parts burnt clay. Hempen cloth (Nuno 布) is glued on with Urushi 漆 to prevent the wood from cracking later on. Again a few coats of Sabi 錆 are used, followed by several coats of Rō-urushi 蠟漆. After each application the Saya 鞘 is dried in the Muro 室, and then very carefully polished with powdered charcoal and other abrasives since even the smallest unevenness would show on the final surface as if magnified. This Honji 本地, or priming procedure, is done by the Nurimono-shi 塗物師, and can consist of as many as 50 or 60 steps.

 

Now the Saya 鞘 may go to the Maki-e-shi 蒔絵師. In addition to solid colors and combinations thereof, a wide variety of Maki-e 蒔絵, sprinkled lacquer "pictures," are possible. The Tsutsu 筒, a hollow bamboo tube covered with gauze on one end, is tapped with a finger to dispense different kinds of powders onto the still wet coat of Urushi 漆. After drying, it follows polishing and coats of Irizeshime 入石漆.

 

Methods of decoration are Hira-maki-e 平蒔絵 and Taka-maki-e 高蒔絵, low and raised designs respectively. Hira-maki-e 平蒔絵 is a design raised only by the thickness of lacquer used, while Rō-urushi 蠟漆, camphor and lamp-black is boiled for a paste to model a relief that is then lacquered to produce Taka-maki-e 高蒔絵. What deserves special mention is Togidashi 研出, where basically Hira-maki-e 平蒔絵 is covered with Rō-urushi 蠟漆 and then polished to show the design flush with the surrounding lacquer. Besides the pictorial designs of those three procedures, small gold flakes or ground shells, among other materials, can be sprinkled with the Tsutsu 筒 to achieve effects like Nashiji 梨地, Aogai 青貝, Ishime 石目 and so forth, which are used alone or as a background.

 

The worst enemy of finished Urushi 漆 is direct sunlight, which turns the lacquer dull and might even make it flake off. Rō-iro 蠟色 of lower quality turns brownish opaque when exposed to light for an extended period of time.

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Mr. Schiller-

 

I found your post very educational. While not trying to hijack this topic, I am interested in how one goes about repairing Urushi. I have seen topics where repair is not suggested, but a complete re-application of urushi is the best since the spot repaired will "fade" at a different rate than the original urushi. However, I have seen places send out Katchu and Saya for spot repair.

Are there types of urushi or "styles" that lend to repair vs complete rework? While I would love to try my hand at it once, I know better, I would end up covered in rash cream and cursing the day I placed the order. :oops:

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I hear you there, Justin! That's one reason I'd have to think about it before deciding to buy and use it: I'm allergic to poison ivy, and the active ingredient in urushi lacquer is the same thing that makes poison ivy itch - only more concentrated. I'd have to wear nitrile gloves, at the very least...

 

I just got done talking to Randy Black a little while ago, and he says he even has problems when refinishing older saya, just in removing the old urushi, since the dust from sanded urushi makes him break out and causes sinus problems if it gets past his dust mask.

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For some reason or other the Japanese government decided to ban the carriage of cashew lacquer by just about every route, on the basis that it might be used by terrorists. :-( The Cashew Lacquer Company, whose product it is, didn't do anything about the change in legislation because, quite frankly, they are not interested in developing a market for this product outside of Japan, and couldn't really care less if there is a market for it outside of Japan. Their domestic market is big enough for them as far as they are concerned.

 

I emailed Hyper-cafe when the news hit, but they didn't seem overly concerned. If they've now run out, I doubt that they will be able to restock.

 

The current situation doesn't just muck up things for people lacquering saya - it is also used by artists, restorers of Japanese instruments, custom fountain pen makers and so on. :-( I'm still trying to find a way of getting hold of it. I really need to get hold of an official in the appropriate Japanese ministry and get chapter and verse on the current laws. :-/ I suspect persistence is going to be everything. We may however have to throw together our own route for getting hold of it.

 

As for urushi and US law, as far as I understand it, you can't stock and sell urushi in the US, but people are allowed to purchase it for private use. There aren't many places that sell it outside Japan. We sell it though, and have shipped it to the US.

 

Kevin

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Thank you very much for that info Guido ! It was most educational. I actually forgot about that posting completely.

 

I think that when i do have enough to spend i might try her Urushi course anyway.

 

There is nothing comparable to Urushi, Cashew maybe but that is the same type of lacquer i think, in viscosity.

 

The only "cheap" solutions for a (new) hand made replica dou or rusted kusazuri after sanding would be multiple layers of car lacquer, and i dont think i am willing to go there....

 

I did "repair" an old urushi box which i got at a fleamarket once, it was worth nothing and had become dull...

after spraying it with clear high grade varnish it looked much better. Wouldnt do that with the really nice stuff, not even if it would be chipped...

 

KM

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I am interested in how one goes about repairing Urushi. I have seen topics where repair is not suggested, but a complete re-application of urushi is the best since the spot repaired will "fade" at a different rate than the original urushi. However, I have seen places send out Katchu and Saya for spot repair.

Are there types of urushi or "styles" that lend to repair vs complete rework? While I would love to try my hand at it once, I know better, I would end up covered in rash cream and cursing the day I placed the order. :oops:

 

Not something that falls in the "Do it yourself" realm, IMHO. This is meant to everybody that have similar repairs to be done and more for the sake of the very, very few professionals in this field that are out there, the only ones that can (and should) properly repair such items.

 

Andy Mancabelli, a professional that have the permission to use the Miura name to continue Miura's Sensei line, posted this on another board (Andi, you've a PM there...):

 

"Regarding the various information on urushi in the blogs.... a lot of it is wrong, from the names to the uses. Different times and places used different varieties of urushi and shitaji and different components of shitaji etc. Every time I restore a piece (my specialty being sengoku period) I have to match the ingredients as best I can to the original. I never skimp. Different seasons change the drying times dramatically even if you have a controlled Muro (humidor) because I have found that pressure systems greatly effect drying times. Because of this the exact ambient humidity/temperature in the dead of winter and dead of summer are harder to control than Spring and fall which are the best.

 

After a few years of experience you can start to understand what level of refinement old urushi was; the pigment used, and in some cases what time of the season it was applied. I have worked with the socalled Ki urushi which is actually said by urushi experts to be another word for seshime. The few seshime that I have used so far has been crap in my opinon and out of china - problems experienced with the Chinese "garbage" are: inconsistent color, bad smell, particles, inconsistent drying, drying too quick. Now I only use Japanese urushi for everything. It costs at least two to three times the price but its worth it. The chinese stuff is only good for shitaji in my opinion and I dont even use it for that. I have many types of urushi and pigments that I use regularly. The reason many shokunin like "shin urushi" and other fake urushi substitutes is that it dries fast no matter what the ambient humidity/temperature is, its consistent, and the color is nearly the same color as when it dries. Real urushi with Red pigment (Mercuric oxide - which is dangerous... but proper) dries around ten shades darker than when it is applied. Red urushi is an art in and of itself - matching it is even more difficult. In the olden days there were shokunin that specialized in Red lacquer."

 

I strongly encourage to give the very few, strongly devoted craftmen the opportunity to work and maintain the *real* job alive.

Very few still around, being possibly Andy the youngest. Let's hope not the last.

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I strongly encourage to give the very few, strongly devoted craftmen the opportunity to work and maintain the *real* job alive.

Very few still around, being possibly Andy the youngest. Let's hope not the last.

If any of them have web sites or contact info that would be helpful as this subject does come up rather frequently in various forums.
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