From Kamakura to Choshitsu

The fountain pen jargon is not always accurate. At times, words acquire a new meaning to fit an old concept—that was the case of kimono as a pen wrap that I explained on these pages months ago. On other occasions, a new concept requires a new description, but the chosen words are not always adequate.

The case of Kamakura bori is, however, different.

As a maki-e/urushi-e technique, the Kamakura bori is performed by carving the substrate –usually wood— which is then lacquered and polished. Kamakura bori, in actual terms, means “Kamakura carving”, and this technique dates back to the 13th century.

Two pens with carved urushi on a tray carved in the Kamakura style.

The pens are a Ban-ei (top), and possibly an Ishi Shoten (Yotsubishi), although not signed.
Both nibs are by Kabutogi Ginjiro.

On the contrary, on the so-called Kamakura bori pens, the procedure consists first in applying several layers of urushi in different colors that are afterwads carved to expose that stack of colors.

In actual terms, this technique is a form of choshitsu or “engraving of urushi”. However, what we tend to call choshitsu usually display figurative motifs instead of the regular patterns we see on those non-Kamakura-bori pens. These complex choshitsu pens are rare and expensive.

A very traditional choshitsu pen with floral motifs.
Photo by Mr. N. Syrigonakis.

I, for one, think we should rename those non-Kamakura-bori pens as choshitsu pens.


My thanks to Mr. N. Syrigonakis.

Omas 556 – Kobe Ginza Gold Sepia

Bruno Taut
Nakano, September 30th, 2020
etiquetas: Ban-ei, urushi-e, nibmeister Kabutogi Ginjiro, Yotsubishi