白 菫

ヒメスミレ（姫菫）、シロスミレ（白菫）の特徴

ナガバノスミレサイシン（長葉の菫細辛）は、本州（関東地方以西）、四国、九州の太平洋側の山地林内に生え、太くて長い根を持つスミレサイシンの葉を細くしたようなスミレです。 そのスミレサイシンの白花品が、シロバナスミレサイシン（白花菫細辛）です。スミレサイシンの葉は先がつまんだように尖っています。 上のナガバノスミレサイシン（長葉の菫細辛）は、２００３年４月１９日に高尾山で撮影した花です。 ナガバノスミレサイシン（長葉の菫細辛）の特徴 ナガバノスミレサイシン（長葉の菫細辛） ２００３年４月１９日 撮影 高尾山 .

ミヤマトウキ（深山当帰）、オオバセンキュウ（大葉川弓）の比較

ミヤマトウキ（深山当帰）とオオバセンキュウ（大葉川弓）は、セリ科・シシウド属ですが、ミヤマトウキは低山帯～亜高山の湿った岩上に生え、葉は広三角形、２回３出複葉、表面につやがあります。 オオバセンキュウ（大葉川弓）は、山地のやや湿ったところに生え、葉は１～２回３出羽状複葉。小葉は狭卵形で薄く、長さ３～８cm、不ぞろいの鋭鋸歯があります。 ミヤマトウキは葉につやがあること、苞葉ないこと、オオバセンキュウは、総苞片はないが、小苞片だけあることなどで区別ができますが、セリ科はよく似ているために区別するのが難しい .

ツクバネソウ（衝羽根草）とクルマバツクバネソウ（車葉衝羽根草）の比較

ツクバネソウ（衝羽根草）は、シュロソウ科・ツクバネソウ属で、本州（東北地方、関東地方北部、中部地方の日本海側）の亜高山帯～高山帯の湿った草地や明るい林床に生える多年草で日本固有種です。 葉の中央から花柄を伸ばし、直径５～１０㎝の花を１個だけつけます。写真だけで見ていたキヌガサソウに出会った時は心が躍るようでした。 上のツクバネソウ（衝羽根草）は、２００６年５月２２日に尚仁沢遊歩道で撮影したものです。 ツクバネソウ（衝羽根草）の特徴 ツクバネソウ（衝羽根草） ２００３年６月６日 撮影 那須沼原近辺 ツクバネ .

ミヤマスミレ（深山菫）、フジスミレ（藤菫）の特徴

ミヤマスミレ（深山菫）は、北海道、本州、四国、南千島の低山帯～亜高山帯の明るい林内や林縁に生えるミヤマスミレ類です。 地上茎は無く細長い根茎から花後に匐枝をだすのが特徴で、北海道、東北地方では低地から見られますが、本州中部では１０００m以上に見られる深山のスミレです。 フジスミレ（藤菫）は、本州（栃木県、群馬県）と狭い範囲に生えているスミレで、丸みのある葉が特徴で、ヒナスミレとミヤマスミレの中間的な感じがします。 私が写したはフジスミレは白花でしたので、迷いましたが、葉の形などから、フジスミレとしました .

サラセニア科のムラサキヘイシソウ（紫瓶子草）とヘリアンフォラの特徴

ムラサキヘイシソウ（紫瓶子草）は、サラセニア科・サラセニア属の沼地の多い泥炭地域に広く生育している多年草の食虫植物で、北アメリカの東岸、カナダからアメリカのフロリダ州、ミシシッピー州に分布しています。 ヘリアンフォラは植物園で花が咲いている時に見ることが出来ましたが、ギアナ高地固有の食虫植物で、ベネズエラの霧深い場所に自生していて、栽培には高湿度を維持する必要があるようですが、育てている方がかなりいることに驚きました。 上のムラサキヘイシソウ（紫瓶子草）は、２００５年５月３１日に日光植物園で撮影したもので .

アロエ・アルボレッセンス

アロエ・アルボレッセンスは、ススキノキ科・アロエ属で、南アフリカの南東部原産の多肉植物です。 アロエ・アルボレセンス（Aloe arborescens）のパルプが創傷に適用された結果は、創傷における治癒率が改善されたようですその様なことから、薬用アロエと呼ばれているようです。 上のアロエ・アルボレッセンスは、２００４年１月９日にとちぎ花センターで撮影したものです。 アロエ・アルボレッセンスの特徴 和名 アロエ・アルボレッセンス 学名 Aloe arborescens 科名・属名 ツルボラン科 アロ .

La quoh

The interesting unevenness of the Namban shippo pattern combined with an airy lightness and texture creates a casual and sporty material that is easy to use.

A 10mm-thick low-resilience urethane material is sandwiched between polyester knit material, bonded, and then embossed to give it an athletic feel. An airy lightness and texture combined with the interesti ng unevenness of the Namban shippo pattern creates a casual and slightly sporty material that is easy to use in everyday life. Low-resilience urethane is thicker than usual, so it does not easily lose its shape. It is also suitable for storing PCs, tablets, and files. While making the most of the pattern's unevenness, we have adapted the material to evolve with modern lifestyles.

南蛮七宝 プリントレザー

NAMBAN SHIPPO PRINTED LEATHER

High-quality kip leather from Himeji which is supple and light. The fine embossing on the delicate material gives it a unique texture.

The unique texture of the material, not found anywhere else, is created by multi-layered processing, finished with beautifully nuanced Japanese hues. Namban shippo is a traditional pattern with circles, stars and flowers that has continued since the Edo period. It is an auspicious pattern that brings happiness in all directions, like a bond that connects people with their emotions.

南蛮七宝 エンボスレザー

NAMBAN SHIPPO EMBOSSED LEATHER

The traditional Namban shippo pattern, used for embossing and printing, has been passed down the generations by Kira Karacho. It is symbolic of happiness that flows in all directions.

To faithfully express the pearly, elegant luster and original pattern of the kara-kami technique kirazuri, we use a rotary embossing machine and hairline embossing process. This creates a delicate unevenness on the surface. In addition, multi-layered embossing and ironing processes are used to produce carefully crafted original leather.

南蛮七宝 ベーシックプリント

NAMBAN SHIPPO BASIC PRINT

Polyester with transparent urethane print that has a glossy surface and gives a sporty impression.

Using colorless and transparent urethane pigment ink, we strive to express patterns with an unprecedented luster. The lustrous iridescent-like contrast of the black and gray creates a pleasing effect where the pattern gradually appears and disappears.

南蛮七宝 アルチザンレザー

NAMBAN SHIPPO ARTISAN LEATHER

Since pigment does not enter the uneven areas of the leather, the silver and navy colors remain on the border between the bulge of the pattern and the base, creating a rich impression.

Buffing paper is used to remove dirt and scratches from the grain of the cowhide. After that, the Namban shippo pattern is embossed and dyed. The leather surface is then further shaded completely by hand. Color is applied by lightly dabbing the leather surface with gauze wrapped in dyed cotton. For both silver and navy, the base is first finished in the respective color, and then white pigment is gradually added on top of the base.

角つなぎ プリントレザー

KAKU TSUNAGI PRINTED LEATHER

Compared to Namban shippo, the straight-lined patterns are more masculine. Unlike Namban shippo printed leather this product was developed with men in mind.

Regardless of the item, the thin design eliminates unevenness to make it easy to use in men's pockets. Naturally, women can use this item as well. In particular, the lilac color gently expresses the sharp patterns. Both navy and black have a gorgeous blue leather interior.

約400年にわたって代々伝わる板木に描かれた文様に宿る願いや物語を繊細な美意識と確かな技術で革小物に具現化したのがこのLa quoh with Kirakarachoです。手にされた方の人生にこの文様の発するメッセージを重ねて少しでも穏やかで幸せな気持ちになっていただけることを願っております。

Inheriting the essence of Japanese culture and a history of manufacturing with real worth.

With carefully selected materials and fine craftsmanship, it feels comfortable to the touch, the moment you hold it in your hands. Creativity that is gently curated over time. We convey the richness of dyed colors through their connection with Japanese culture. We want people to enjoy precious moments using our goods. La quoh inherits the essence of Japanese culture and delivers manufacturing with real worth.

La quoh with Kira Karacho produce leather accessories created with a delicate sense of beauty and reliable techniques. Our leather goods embody the wishes and stories that reside in patterns drawn on woodblocks, patterns that have been handed down for generations for about 400 years. We hope the messages in our patterns enrich your life with tranquility and happiness.

Philosophy フィロソフィー

「文様を生地の上にどう表現するか」

How we express patterns on fabrics.

In terms of design, we focus on the expression of the material and how the pattern looks. The patterns applied to La quoh's materials are traditional patterns that have been handed down for 400 years. We work with people's happiness in mind. Even in modern times, we believe that the feeling of caring for someone important to you is universal. We not only express traditional patterns using long-established methods, but also strive to express new patterns using the latest techniques and technology.

素材に合わせた芯材やステッチにこだわった職人の技を生かし、凛としたフォルムを際立たせて、オリジナリティのある仕上がりにしています。レザ－やファブリックにも品格のある佇まい、時間と共に楽しめる経年変化や風合いを追求しています。 創業300 年を誇るバッグを始めとした革製品のものづくりの技術を活かして、丁寧な縫製、上質な品質を心がけています。 創業の地である京都には、自社工房がありますので長く安心してお使い頂けます。

The skill of our craftsman to match the core material and stitching to the material accentuates the dignified form and creates a finish with originality. We pursue a dignified appearance in our leather and fabrics, with aging and leather patina that can be enjoyed over time. We are proud of our 300-year history of manufacturing leather goods, including bags, and are committed to precise sewing and high-quality craftsmanship. Our workshop is in Kyoto, where the company was founded, so rest assured our products can be used reliably for a long time.

about Kirakaracho 京都で創業した約400年続く 日本唯一の唐紙屋「雲母唐長」

Kira Karacho is the successor to 'Karacho,' Japan's only karakami maker that was established in Kyoto in 1624 and has been in business for nearly 400 years. Karakami is beautiful decorative woodblock-printed paper that is said to have originated in the Heian period when it was used for writing letters. During the Kamakura and Muromachi periods, as architectural styles changed, it came to be used for interior decorations such as partitions, folding screens, sliding doors, and wallpaper. In the Edo period, the culture of karakami blossomed and became widely appreciated not only by Shinto shrines and Buddhist temples, but also by samurai families, court nobles, townsmen, and tea masters.

唐紙師 トト アキヒコ

Karakami maker Toto Akihiko

Karakami craftsman. We create a variety of karakami that suit modern life, such as fusuma, fittings, wallpaper, and panels and lamps using karakami, which inherited traditional Karacho karakami. A pioneer in the art of karakami, Toto Akihiko pursues the artistry of karakami by fusing pointillism and tarashikomi to dye with his own fingers. The abyssal blue karakami works born from 'prayer' are loved as the spiritual , which has a poetic feeling created with Yaoyorozu gods and spirits, and continue to be installed in public, commercial facilities, and private residences.

千田愛子

唐長創業家に生まれ、1624年（寛永元年）創業の日本唯一続く唐紙屋を継承、次代を担う。幼少期より培われたその類希なる色彩感覚により、唐長の新境地として、従来の壁紙、襖紙の世界から新たにカードの世界を開拓。 10代の頃から発表し続けている千田愛子の唐紙カードの世界は、独特の色彩感覚によって、老若男女問わず幅広い世代にファンが多く、海外でも好評を博している。2004年には唐長文様・天平大雲を一面に配したファサードで京都のランドマークとなっているCOCON KARASUMA 1階に、自らプロデュースした雲母唐長ショップをオープン。c唐紙師である夫トトアキヒコと共に、文様と色を通じて、人々の暮らしを豊かにするモノづくりや他者とのコラボレーションを行い、衣食住の美しい空間を優れた色彩感覚で提案している。

Aiko Senda

Born into the founding family of Karacho, he inherited Japan's only continuing Karakami maker founded in 1624 (the first year of the Kanei era) and will be responsible for the next generation. With his unique sense of color cultivated since childhood, Karacho has explored a new world of cards from the conventional world of wallpaper and fusuma paper as a new frontier. The world of Aiko Senda's karakami cards, which she has been presenting since she was a teenager, has many fans of all ages, men and women of all ages, due to her unique sense of color, and has been well received overseas. In 2004, on the 1st floor of COCON KARASUMA, which has become a landmark of Kyoto with its façade adorned with Karacho patterns and Tenpyo large clouds, he opened the Mica Karacho shop, which he produced himself. Together with her husband Akihiko Toto who is a karakami craftsman, she creates things that enrich people's lives through patterns and colors, collaborates with others, and proposes beautiful spaces for food, clothing and shelter with her excellent sense of color.

Traditional pattern 伝統的な文様

南蛮七宝柄 文様の意味：縁つなぎ、繁栄、円満

NAMBAN SHIPPO human connection, prosperity, harmony

A pattern that is vertically and horizontally linked in a continuous sequence. This timeless pattern, made from old woodblocks, has been handed down from generation to generation since the Edo period. The exotic cloisonné-style pattern has a power that transcends eras, nations, and ethnicities. It is a series of connected circles, stars, flowers, or crosses that expresses wishes for happiness to flow in all directions.

角つなぎ 文様の意味：繁栄・縁つなぎ・変化

KAKU TSUNAGI prosperity, human connection, change

This pattern has its origins in cord braiding. Since ancient times, knots are thought to contain special powers. The motif of this pattern is a continuous knot that embodies prayers for life and hope for continuation.