Types of Shakuhachi: Jinashi & Jimori vs. Jiari Jinuri, & Cast-Bores
On this page, you’ll come to understand the different types of shakuhachi which are defined by how they’re constructed. First, check out the video below:
Jinashi Shakuhachi
Strictly speaking, jinashi (地無し) shakuhachi are crafted by working with the unique, natural bore of each bamboo piece solely through subtractions, that is, by carving or sanding away material. Craftspeople aim to achieve their desired level of tuning and tonal balance this way. The bores of jinashi flutes are often lacquered, traditionally with urushi, though they can also be left natural.
However, it’s often impossible to remedy some acoustical issues through subtractions alone.
Jinashi to Jimori: Subtraction & Addition
When an acoustical issue can’t be fixed with subtractions then additions are what’s required. Jimori (地盛り) shakuhachi are created by applying relatively small amounts of paste to specific areas of the bore. Like subtraction, these additions are carefully adjusted.
Ultimately, subtraction and addition are two complementary techniques. Similar to jinashi, jimori bores can be left raw or lacquered over. Note that some people take additions to the bore so far as to effectively make their instruments like jiari, aka jinuri.
Jiari aka Jinuri: The Human-Made Bore
In contrast to the above shakuhachi types, jiari or jinuri (地塗り / 地在り) shakuhachi feature bores that are completely filled and sculpted with plaster or glue. “Cast-bore” methods speed up this process by using a mandrel to cast the same bore profile into the bamboo. Whether done by hand or caste, the resulting bore is entirely human-made, not being found naturally in bamboo.
This essentially makes the bamboo a veneer or shell into which the fabricated bores are created. These instruments often incorporate center joints (see below). In essence, while they’re bamboo on the outside, their interior is not. While jinashi and jimori favor variety, jiari are about consistency via reproduction of one bore profile.
Nobékan “One-Piece” Vs. Jointed
As shown in the images above, unlike jointed jiari shakuhachi, the total length and resulting pitch for a nobékan “one-piece” jinashi or jimori shakuhachi is largely determined by nature. Specifically, the natural distance between the topmost node, where the blowing edge is formed, and the bottom roots. Conversely, the jiari features a center joint and a fully plastered bore. As we discovered earlier, joints and plaster allow craftsperson to adjust the final length and pitch of the key. In modern times, this almost exclusively entails adjusting to 440Hz.
Note that some instruments may appear one-piece but can have hidden joints beneath inlaid rattan binding wraps. While more rare, some Jinashi or Jimori may also occasionally feature joining work, both visible and hidden.
To learn more about shakuhachi pitch and tuning, see the page here.
Advantages of Quality Jinashi & Jimori
- Lighter Weight: Particularly noticeable in longer shakuhachi.
- Greater Variety: Offers a higher number of larger sizes and keys beyond A4=440Hz, including those used in Edo period Japan.
- Structural Integrity: Usually crafted as one-piece Nobé instruments which makes them inherently tougher. Jiari often have a center joint which can be vulnerable to damage and often requires maintenance.
- Easier Repair: Cracks are typically far easier to repair and the original sound remains unaffected. In jiari, cracks often dislodge the plaster which makes total restoration to original condition difficult or impossible. Of course, repairs with jiari are often more complex and costly.
Advantages of Quality Jiari
- Portability: Can be split into two pieces for convenient travel when they have a typical center joint.
- Volume & Speed: Can be made to play ultimately louder and faster than comparable jinashi and jimori instruments. They’re also easier to play at higher volumes and speeds.
- Availability: Quality examples are less rare than jinashi and jimori, though primarily for standard lengths and keys only.
Definitions
- Ji (地): Traditionally, a paste or plaster made by mixing urushi lacquer and jinoko (stone powder). Today, ‘ji’ refers to any material, such as glue, that adheres to bamboo for bore shaping. Not to be confused with lacquer which is a coating painted onto the inner bore, typically brown, black, or red in color.
- Jinashi (地無し): Literally “no paste.” The strict definition means absolutely no paste applied to the bore. Adherence to this strict definition varies among makers, however.
- Jimori (地盛り): Literally “paste a portion.” Portions of the bore have Ji applied, usually in very small, targeted areas. Some makers take this to the extreme and essentially craft jiari.
- Jiari AKA jinuri (地塗り / 地在り): Literally “pasted/plastered.” The entire bore is covered in paste/glue and shaped or cast into a predetermined, human-made profile not found naturally in bamboo.