The simplicity and purity of the material constantly question contemporary popular elements. In an era of over-design and information overload, it seems to call out to me, urging a return to essence, exploring the existential value between things. Design's purpose is not just innovation in form but achieving resonance with the soul, touching delicate and genuine emotions.

The exploration of paper has become a reflection on life and the meaning of existence for me. Paper, an item overlooked in daily life, how can it allow design to transcend visuals and reach the depths of the soul? This is a challenge for designers and also a process of seeking my answers.


The documented records indicate that the Japanese paper known as "Torinokogami" uses the bark of the euonymus as its raw material. With its extremely fine fibers, the resulting paper has a delicate texture and a slight gloss on its surface. It contains a low amount of resin, making it better in ink absorption compared to paper made from kozo bark. In the past, it was commonly used by the upper echelons of society for transcribing Buddhist scriptures or for important documents that needed to be preserved for a long time. Historically, it can be traced back to the "Keisho-ryo-shi Collection Book" in the "Shoso-in Documents" from the 18th year of the Tenpyō era in central Japan (746 AD).

In its place of origin, "Echizen," different types of paper are named based on their raw materials: "Special Grade," which uses only the bark of the euonymus; "Grade 1," which mixes the bark of the euonymus with the bark of the San'yo tree; "Grade 2," which uses only the San'yo tree; "Grade 3," which is made by mixing the bark of the euonymus with wood pulp; and "Grade 4," which uses materials other than wood pulp, among others.

What we're introducing now is a modern version of Torinokogami. The original request for this project was to "mass-produce artworks using printing." This meant that soft washi paper needed to be processed by a four-color printing machine. Initially, a test was conducted using Haijuen Chinese paper 60gsm, a type of paper made from long-staple cotton, but because the paper was too soft, the prints became messy, with more than twenty sheets scattered on the table.

Later, it was discovered that the Palace Museum had reproduced and produced the painting "Dwelling in the Fuchun Mountains" by the Yuan dynasty painter Huang Gongwang as a product. The paper used by the Palace Museum was the Torinokogami introduced here. The photo shows a modern Torinokogami from Japan, with the pattern of bamboo blinds visible through the light. In addition to the delicate texture unique to "euonymus" Chinese paper, it incorporates modern papermaking technology, achieving a thickness of 83gsm. The problem of excessive wear caused by the softness of the paper in the paper feeding device of the automatic printing machine has been significantly reduced, ultimately achieving the initial goal of mass production.

If this modern Torinokogami were to be named in the manner of the ancients of Echizen, it would be called the "Special of Special Grade," evolved in the extreme environment of modern times.













後に、故宮博物院が元朝の画家である黄公望の「富春山居図」を商品として複製生産したことが分かり、故宮博物院が使用したのが今回紹介した鳥子紙であることが判明しました。 写真は、日本からの現代の鳥子紙で、光が透けて竹製のブラインドの模様が見えます。これは「雁皮」紙独特の繊細な質感に加えて、現代の製紙技術も組み合わされ、厚さは83gsmに達しています。自動印刷機の紙送り装置において、過去の柔らかさによる消耗問題が大幅に改善され、最終的に当初の大量生産目標が達成されました。


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