Sensu are now mass-produced using machines. However, high-quality sensu are made by hand, one by one even nowadays.
The craftsmanship that pays attention to detail is different. Traditionally, sensu are made by hand by skilled craftsmen.
It’s said that there may be 88 processes in making sensu. Roughly speaking, there are 3 processes: “senkotsu” (扇骨: fan frames), “jigami” (地紙: base paper), and “tsuke” (つけ: attaching).
If we break it down a little more, there are 5 processes: “honedukuri” (骨作り: frame making), “kamikakou” (紙加工: Paper processing), “uwae” (上絵: overpainting), “orikakou” (折り加工: folding processing), and “tsuke” (つけ: attaching).
There are many detailed processes.
Processing steps of Sensu
The hone (骨: frames) material, such as wood or bamboo, is selected when making the hone (骨: frames). The hone (骨: frames) of sensu must be strong and flexible. Young bamboo that is 3 to 5 years old is preferred. The many varieties of bamboo have different characteristics, and even the same bamboo has different characteristics depending on the part.
In addition, differences arise depending on the processing state of the bamboo.
Shiratake (shirotake: 白竹: white bamboo):
Freshly cut green bamboo that has been degreased and dried in the sun.
Susudake (煤竹: soot bamboo):
This type of bamboo was used as material for the ceilings and attics of old houses with thatched roofs. It has a tasteful texture that is smoked by the smoke rising from the hearth.
Somedake (染竹: dyed bamboo):
It’s the shiratake (shirotake: 白竹: white bamboo) that has been dyed using dyes. There are 2 types: nigurome (煮黒: bamboo that has been boiled and dyed black) and karakizome (唐木染: bamboo that has been dyed a karaki colour).
“Senkotsu” (扇骨: fan frames) 3-1 | “Honedukuri” (骨作り: frame making) 5-1
Processing:
Fell bamboo suitable for sensu in the bamboo forest.
Cut the body of the bamboo appropriately to fit the size of sensu, which is “dougiri” (胴切: body cutting).
Split the bamboo with a hatchet to fit the size of sensu, which is called “waritake” (割竹: spliting bamboo). Boil the green bamboo to remove the oil and dry it in the sun.
Divide the split bamboo of “waritake” (割竹: spliting bamboo) into 3 pieces and shave them thinly, which is “senbiki” (せん引: line drawing). Exclude the white inner part (腹竹: haratake: belly bamboo) and the outer skin, then the kawa (皮竹: kawatake: skin bamboo) part between them is the main material for the “senkotsu” (扇骨: fan frames).
In addition, haratake (腹竹: belly bamboo) is sometimes used for inexpensive sensu.
The holes for the kaname are drilled, which is “memomi” (目もみ: hole making).
Senkotsu (扇骨: fan frames) are then shaped and intricately crafted, which is “atetsuke” (あてつけ: applying). Countless senkotsu (扇骨: fan frames) are stacked and a bamboo stick is passed through the kaname-ana (要穴: kaname hole), then many senkotsu (扇骨: fan frames) are carved at once with a chisel or knife to shape the form.
Senkotsu (扇骨: fan frames) of kawatake (皮竹: skin bamboo) are dried by leaving them to the sunlight, which is “shiraboshi” (白干し: white drying). It takes 2 days for one side and 4 days for both sides. By exposing them to the sun, the colour of the shiratake (shirotake: 白竹: white bamboo) becomes white and stable. Haratake (腹竹: belly bamboo) is naturally white and has no impure colours, so there is no need for shiraboshi. You can see that a lot of work is involved in making high-quality sensu, even at the material stage.
Polish the senkotsu (扇骨: fan frames) until smooth and carve, which is “migaki” (磨き: polishing).
Mostly, shiratake (shirotake: 白竹: white bamboo) is used as is, but sometimes they are coloured with dye. When they are boiled in a pot, it’s called “some” (染め: dyeing), and when they are painted with a brush, it’s called “nuri” (塗り: painting).
There are various types of “nuri” (塗り: painting), such as “akaguro” (赤黒: red and black), “kuronuri” (黒塗り: black painting), and “tamenuri” (溜め塗り: layer painting), and they are shiny and are mainly for women.
For kamisen (paper fans), pass kaname through, which is “kanameuchi” (要打ち: kanamme driving). The nakabone (中骨 or 仲骨: inner sticks) are sandwiched between the oyabone (親骨: outer frames), and a small cylinder is inserted into the kaname-ana (要穴: kaname hole) to secure it.
The nakabone (中骨 or 仲骨: inner sticks) that are inserted between the paper are then shaved thinly towards the tip, which is “suesuki” (末削: end shaving).
However, for silk fans, before the “kanameuchi” (要打ち: kanamme driving) is done, the nakabone (中骨 or 仲骨: inner sticks) are passed through the fan surface, which is “naka-tsuke” (中附け: attaching inside).
“Jigami” (地紙: base paper) 3-2 | “Kamikakou” (紙加工: Paper processing) 5-2
3 sheets of paper are pasted together. The amount of glue is carefully adjusted so that the paper does not tear during the later process of nakazashi (中差し: inserting inside). Traditionally, hime-nori (rice glue) is used for sensu, but other glues are also used in the present day. Water is added depending on the temperature and humidity of the day the work is done to fine-tune the concentration of the glue.
Then it gets dried.
The paper used for the fan surface is made of 3 layers of shingami (芯紙: core paper) pasted with kawagami (皮紙: skin paper) (front and back). The material is mainly Japanese paper. Japanese paper has long fibres and is durable. In the case of dance fans, 5 or 7 sheets may be pasted together.
The paper is cut to fit the shape of the fan surface. This process is called “kamiawase” (紙合わせ: paper matching) or “awase” (あわせ: matching).
This fan-shaped paper is called “jigami” (地紙). Sometimes multiple jigami (地紙) are cut at once.
Uwae (上絵: overpainting) 5-3
Painting (decorating):
Paint the jigami (地紙: base paper) with a brush, or apply colour as appropriate.
As appropriate, perform hakuoshi (箔押し: foil stamping), which is to attach gold or silver leaf to the fan surface with glue.
As appropriate, paint the fan surface, which is “uwae” (上絵: overpainting). The paint and glue are mixed in an exquisite way so that the image does not bleed when the fan surface is opened or closed. The placement and colour of the pictures and patterns are also decided, taking into consideration how it will look when the unevenness of the fan surface changes.
As appropriate, stencil printing is performed, and the print is impressed on the fan surface. Traditionally, woodblock printing is the main method.
“Folding processing” 5-4
The “ori” (折り: folding) process is performed to create creases. The damp jigami (地紙: base paper) is sandwiched between thick stencils from both sides to create creases. Mino paper (美農紙) is used for the stencils. The folds are aligned and hammered, then the paper is placed between boards and left to rest for 3 days or more until the creases are set.
The paper is then inserted into a thin bamboo pole or spatula, which is nakazashi (中差し: inserting inside). These holes are for inserting the nakabone (中骨 or 仲骨: inner sticks).
The fan surface is then folded, placed in a cutting frame, and cut with a mangiri knife to create an even crease. Sometimes multiple base papers are cut and aligned at once.
The fan surface is then folded, placed in a cutting frame, and cut with a mangiri knife to align the paper. This is called “mangiri” (万切: thousands cutting). Sometimes multiple jigami (地紙: base paper) are cut together at once.
“Tsuke” (つけ: attaching) 3-3 | “Tsuke” (つけ: attaching) 5-5
As appropriate, The nakabone (中骨 or 仲骨: inner sticks) are soaked in perfume.
Holes are made for passing the nakabone (中骨 or 仲骨: inner sticks), which is called nakazashi (中差し: inserting inside).
Blow air into and widen holes made in the folded part by the nakazashi (中差し: inserting inside), which is jibuki (地吹き: base blowing). This is to make it easier to insert the nakabone (中骨 or 仲骨: inner sticks).
Water-based glue is applied to the nakabone (中骨 or 仲骨: inner sticks) and they are carefully inserted into the holes in the bellows. This is called “nakatsuke” (中附け: attaching inside).
Fine adjustments are made so that the nakabone (中骨 or 仲骨: inner sticks) are in the centre of the folds, and then they are left to dry.
The “jigami” (地紙: base paper) expands as it absorbs the glue, and is then folded and hit with a clapper to flatten it, which is konashi (こなし: mashing).
Sensu are then shaped by “manrikigake” (万力掛け: vise hanging). The thick fan surface is sandwiched between boards and a weight is placed on top.
The oyabone (親骨: outer frames) are heated over a fire and bent inward, which is “tame” (矯め: reforming).
The oyabone (親骨: outer frames), the large frames that hold the nakabone (中骨 or 仲骨: inner sticks) on both sides, are heated and bent slightly inwards, and the shape is stabilised overnight. This gives sensu a firm feel when opening and closing, and produces a dapper sound. When this sound resonates, it creates a chic atmosphere.
The tip of the bent oyabone (親骨: outer frames) are cut off, which is “sakizume” (先づめ: tip trimming).
The oyabone (親骨: outer frames) are attached to both sides of the nakabone (中骨 or 仲骨: inner sticks), which is “oyaate” (親あて: outer frame applying). Glue is applied to the oyabone (親骨: outer frames) and glued to the “jigami” (地紙: base paper).
Sensu is fixed with a band called seme (責) and dried.
Completed
Then, the fan is completed.
Kyoto sensu are made by several craftsmen, with the division of tasks being shared among them. In contrast, Edo sensu from Edo (Tokyo) tend to be made by 1 craftsman in almost all processes.
What is Sensu? The foldable fan originating in Japan
Roots of Sensu: Twists added at the Kyoto Imperial Court
The spread and development of Sensu: From Japan to the world
The relationship between Sensu and Occidental Art: Interaction of Japan and Europe
Author: Takuya Nagata. Amazon Profile
Follow @nagatackleA novel writer and creator. Graduated from UCA, the UK’s university. Discussed Japanese minimalism in the senior thesis. Founder of “MINIRISM” (minirism), the art movement that contributes to the development of societies, such as ecology and lifestyle. Later opened the knowledge hub “The Minimalist.”
Once travelled to Brazil and trained football at CFZ do Rio (Centro de Futebol Zico Sociedade Esportiva) in Rio de Janeiro. Played soccer for the Urawa Reds (Urawa Red Diamonds), one of the biggest football clubs in Japan, and toured Europe. Retired at a young age and voyaged alone to England. Established careers as a journalist, football coach, consultant, etc. across Europe such as Spain. The founder of “Propulsive Football” (PROBALL), the world’s first-ever competitive mixed football, facilitating diversity and spirit for equal participation in society.
Knowledgeable in creative and technology fields as well. Launched the SPACE Culture & Entertainment hub “The Space-Timer 0.”
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