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2007/12/25


EIZO FORIS.HD Eizou Forisu.eichidi EIZO FORIS. HD

Jp En

EIZO LCD TV, which has become popular with its simple yet finely refined design and high quality, launched their new line of color LCD HDTV, under the brand name of FORIS.
FORIS HD can be used as both a television and computer monitor. It has a high resolution of more than 720 lines with an aspect ratio is 16:9. Accompanying its high definition, EIZO has developed new techniques which enable FORIS monitors to present a picture which is gentle on the viewer’s eyes.
By applying Pythagoras’ Theorem (3:4:5) to its sound technology, EIZO has succeeded in developing a highly effective and superb quality in both the bass and treble ranges.  
It has vivid vermilion Bengal color on its side which is traditionally considered a noble color, making a definite mark of Japanese manufacture.
It is the further evolution of a new information terminal fusing the television and computer.

■Design Director
Kazuo Kawasaki
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2007/11/16


【清】 Sei Clean, Pure, Clear

Jp En

清 is a character combining the 氵 three dots water-classifier and 青 ‘blue-green,’ that can first be seen in the Tenbun (Zhuàn Wén) seal script. In reliable Kanji science, the classifier does certainly not always show the leading notion of the character’s meaning, here, however, it originally points to the clearness of water. The basis of its meaning is 青 ‘blue-green,’ which is a color that represents the aesthetic sense of the time when Kanji were created. The lower element of 青 is 丹, which means that there is 丹 ‘cinnabar, vermilion’ (pigment taken from earth and rocks including sulfur) in the mine’ s well for digging cinnabar. Cinnabar of green-bluish color was also collected from such mining wells. The upper element of 青 represents 生 which shows fresh, green, sprouting grass. Chinese characters were created by clerics of the ancient Chinese dynasty of the Yīn (Shāng) dynasty. In contrast to the following Zhōu period, the people of Yīn (Shāng) were a coastal people or were living in areas close to the seas. Even in the present sailors often have tattoos. Especially coastal people often had the custom of tattooing and ritual body painting, which is an expression of the religious view of that period. Such 青 was used as a ‘sacred’ color in rituals. Therefore, the 青 of the so called 青銅器 ‘Seidôki: bronze vessels’ (青銅 ‘Seidô: bronze’) also is no accident. Blue and vermilion were both used for curse exorcism and pacification. It was believed that a force working against curses that exorcizes evil spirits resides in the color used for ritual body painting and festive vessels. As was already emphasized in color theories like that of Von Goethe and Schopenhauer, it is evident that such sacred colors as green-blue and vermilion strike the visual sense intensely. Among them, 青 blue-green was thought of as an especially tranquil color with a pacifying and purifying effect most appropriate in curse exorcism.
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2007/8/6


仙台堆朱 Sendai-tsuisyu Sendai Tsuishu

Jp En

Tsuishu is a kind of Japanese traditional lacquer ware. In the making of Tsuishu, the thick layer of solid lacquer is engraved with designs such as flowers, birds, or landscapes. Tsuishu originated in China and was introduced to Japan during the Heian period (794-1192). Tsuishu ware was highly valued as tea utensils and house ornaments.

In the making of Sendai Tsuishu, however, the total production time, which is said to be several months at the maximum, is considerably reduced by producing many pieces of engraved lacquer ware of the same pattern out of one hand-carved prototype. The molded wood-carved intaglio is then coated with vermillion lacquer at least one hundred times. This streamlined production method was established during the Meiji period (1868-1912).

Special care is normally needed to handle Tsuishu lacquer ware, but improvements in heat and water resistance were made in Sendai Tsuish so that each item is suitable for daily use without losing delicacy and beauty of lacquer. This is why Sendai Tsuishu has maintained its reputation as a long-beloved traditional art work
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2007/5/11


漆・テーブル天版(彫刻塗り) Urushi・Teburu-tenban(chokoku-nuri) Table ‘Tenhan’ (lacquer-coated carving)

Jp En

This geometric table with lacquer-coated carving was originally created as a display piece for the Milano Salone. Craftsmen were not used to working on the unusual patterns and size of a  table such as this. In general, pictures were on the lacquer coated cravings, not geometrical designs. Some voices even exclaimed, “This project might be better done by machines!”. On the other hand, with a machine, there would be risks of pigments spreading into the grooves of the carving, during the lacquer coating.However, the craftsmen’s pride motivated them to create this table. When the table was completed, it gave a  rich impression that could not have been machine-made. ‘It was difficult, though I had this chance to encounter a completely different set of values. This gave me a new idea in spatial craft making”, one craftsman commented with pleasure after completing the table. As a result, this table is a unique fusion of design and craft.A new state appears in which the environment is arranged to make design and craft combine and function together.

Table “Tenhan”・Lacquer-coated carving・ SizeW×D×H (mm) 800×800×25 (not including the leg)・ Designed byIntenionallies

Produced byUbushina, Yuta Tachikawa
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