京洛工芸のUV塗装 最高級の『鏡面仕上げ /
UV coating of KYORAKU KOUGEI, the highest quality “mirror finish.

UV塗装の歴史はドイツから始まっています。本来、塗装とは木材を化粧的な用途に使用する場合に、着色して木目や材色等を際立たせると共に、木材の表面を傷,汚れなどから保護することが目的で、日本では古くから漆を使用して、その目的や風合いを大切に求めてきた。一方、1967年 ドイツのバイエル社が極めて短時間に硬化する紫外線硬化(UV)塗料を商品化に成功しました。これにより、硬度・透明度が高く、象嵌・螺鈿などの細工の隙間埋めとしての用途が広がり、美しい仕上りと表面の保護を兼ね備えたことで、高級家具や建築内装材にも展開が可能となったのです。

The history of UV coating dates back to Germany. Originally, the purpose of painting was to accentuate the grain and color of the wood by coloring, and to protect the surface of the wood from scratches, stains, etc. When wood is used for cosmetic purposes, lacquer has been used in Japan since ancient times to achieve this purpose and texture. On the other hand, in 1967, the German company Bayer succeeded in commercializing ultraviolet curing (UV) paints that cure in an extremely short time. This made it possible to expand its use to fill in the gaps in inlays, mother-of-pearl inlays, and other crafts due to its high hardness and transparency, and to develop it into high-end furniture and architectural interior materials due to its combination of beautiful finish and surface protection.

他社の追随を許さない、堅牢かつ歪の無い “大型・鏡面仕上げ”を提供する。/
We provide robust and distortion-free “large, mirror finish” products that are unrivaled by other companies.

京洛工芸は、伝統工芸や新しい技術を十分に熟知し、更なる技術の向上とノウハウの蓄積に努めた結果、同業他社が追随できない風合いと品質を両立する、最高級の『鏡面仕上げ』を提供できるに至る。また、独自の耐熱下地加工を施すことで、タバコ等による焦げに強く、電磁調理器具の使用も可能。さらに、独自の研磨技術と熟練した職人技を元に、日本最大級の塗装設備を開発。これにより、大型の塗付面にも対応できると共に、均一した仕上りを可能にしています。
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As a result of our efforts to further improve our skills and accumulate know-how, we have been able to offer the highest quality “mirror finish” that combines texture and quality that other companies in the industry cannot match.
In addition, the unique heat-resistant base coating makes it resistant to burning by cigarettes, etc., and also allows the use of electromagnetic cookware. In addition, we have developed one of the largest coating facilities in Japan based on our unique polishing technology and skilled craftsmanship. This makes it possible to handle large coating surfaces and achieve a uniform finish.

京洛工芸の箔工芸 京都の伝統工芸の技が息づく、『箔加工技術』で“荘厳で雅な空間”を演出/
KYORAKU KOUGEI’s foil craftsmanship: Creating a “solemn and elegant space” with “foil processing technology,” which is based on Kyoto’s traditional craftsmanship.


全世界が魅了される金・銀。その美しい輝きを、京都の箔工芸技術で加飾し、華やかで気品溢れるマテリアルや製品を生み出すことができます。
箔とは、金・銀・プラチナ・アルミ等の金属を薄く延ばした物で、美術、特に絵画用としては10000分の3ミリ程度まで薄くしたものが使われています。
古くから美術の分野では絵画・工芸など、箔を絵画表面に貼ったり、切断して文様を表現したりして、その華やかな美しさを生かしてきた。
また、仏教伝来とともに仏画・仏像・仏具に多量に使われてきたものです。一般的によく知られているものでは、漆の蒔絵や、金屏風や絵画の背景にと様々に利用されています。
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Gold and silver fascinate the whole world. The beautiful brilliance of gold and silver can be decorated with Kyoto’s foil craft techniques to create materials and products that are gorgeous and full of elegance.
Foil is a thinly stretched metal such as gold, silver, platinum, or aluminum, and is used in art, especially in paintings, where it is made as thin as three thousandths of a millimeter.
Since ancient times, in the field of art, foils have been applied to the surface of paintings, crafts, etc., or cut to express patterns, making use of their gorgeous beauty.
Also, with the arrival of Buddhism, it has been used in large quantities for Buddhist paintings, statues, and tools. It has been used in a variety of ways, such as lacquer maki-e, gold folding screens, and as a background for paintings, to name a few commonly known examples.

京洛工芸の螺鈿(らでん)古き時代から人々を魅了してきた輝きを京都の“技”と“感性”で更に磨き上げます。/
Raden (mother-of-pearl inlay) of KYORAKU KOUGEI has fascinated people since ancient times. We will further refine its brilliance with Kyoto’s “technique” and “sensitivity”.


京洛工芸の熟練の職人による精巧で美しい装飾と共に、螺鈿細工が醸し出す、華やかで気品溢れる華美な世界を蘇らせます。
独自の意匠と新たな機能を加え、強い個性と美を打ち出すことができます。
主に漆器や帯などの伝統工芸に用いられる装飾技法のひとつです。貝殻の内側、虹色光沢を持った真珠層の部分を切り出した板状の素材を
漆地や木地の彫刻された表面にはめ込む手法、及びこの手法で製作された工芸品のことをさします。
螺は貝、鈿はちりばめることを意味します。
使用される貝は、ヤコウガイ、シロチョウガイ、クロチョウガイ、メキシコクロチョウガイ、カワシンジュガイ、アワビガイ、アコヤガイなどが使われます。嵌め込んだ後の貝片に更に彫刻を施す場合もあります。

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Along with the elaborate and beautiful decorations made by the skilled craftsmen of KYORAKU KOUGEI,
it brings back the gorgeous and graceful world of floral beauty created by mother-of-pearl inlay.
With the addition of unique designs and new functions, it is possible to create a strong sense of individuality and beauty.
It is one of the decorative techniques mainly used in traditional crafts such as lacquer ware and obi.
A plate-like material cut from the inner part of the shell, the iridescent luster of the nacreous layer.
This technique is used in traditional crafts such as lacquerware and obi.
The word “la” means shell, and the word “daen” means to encrust.
The shells used in this technique include the pearl oyster, white pearl oyster, black pearl oyster, Mexican black pearl oyster, leatherback oyster, abalone oyster, and Akoya oyster. In some cases, further engraving is done on the shell fragments after they are inlaid.

京洛工芸の木象嵌 2つの資産(職人の技・貴重な木材料)を元に、次代に繋ぐ“華美な空間”を生み出す。/
Based on the two assets (craftsmanship and precious wood materials), KYORAKU KOUGEI’s wood inlays create a “gorgeous space” that can be passed on to the next generation.


今では手に入らない古木や、輸入することができない貴重な突板等の資材を継承し、京洛工芸でのみ製造できるといっても過言ではありません。
高品質な高級家具・調度品を始め、豊富なノウハウ・知見を元に 新たな意匠や機能を持つ素材を提供いたします。

象は「かたどる」、嵌は「はめる」と言う意味があります。象嵌本来の意味は、一つの素材に異質の素材を嵌め込むと言う意味で金工象嵌、木工象嵌、陶象嵌等があります。
象嵌は、現在の中東(シリア)のダマスカスで生まれ、日本にはシルクロード経由で飛鳥時代に日本に伝わったとされています。江戸時代には京都などに優れた職人が多数生まれ、日本刀の拵えや甲冑、鏡や根付、文箱、重箱などに腕を振るったとされています。素材としては金属だけではなく、彩色した木材や骨片、貝殻、陶磁器なども用いられることもあります。

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It is no exaggeration to say that only KYORAKU KOGEI can manufacture products by inheriting materials such as old wood that is no longer available and precious veneers that cannot be imported.
It is no exaggeration to say that only KYORAKU KOGEI can manufacture such materials. We offer materials with new designs and functions based on our abundant know-how and knowledge, including high-quality luxury furniture and furnishings.The word “zogan” means “to shape” and “inlay” means “to fit. The original meaning of Zogan is to fit different materials into one material, and there are metal Zogan, wood Zogan and ceramic Zogan.
Zogan is said to have originated in Damascus in what is now the Middle East (Syria) and was introduced to Japan in the Asuka period via the Silk Road. In the Edo period (1603-1868), many excellent craftsmen were born in Kyoto and other cities, and they are said to have wielded their skills in making arrangements for Japanese swords, armor, mirrors, netsuke, paper boxes, and stacked boxes.
Not only metal, but also colored wood, bone fragments, shells, and ceramics are sometimes used as materials.

 

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