Types of shakuhachi: Jinashi and Jimori vs. Jiari Jinuri and cast-bores
(Note: people both inside and outside of Japan do not always adhere to the strict definitions for Jinashi and Jimori type shakuhachi.)
Jinashi 地無し types of shakuhachi
Strictly speaking, the types of shakuhachi known as Jinashi are crafted by working with each unique bamboo bore via subtraction only, i.e., by carving or sanding away at it. In so doing, craftspeople like me try to achieve our desired level of tuning and tonal balance or resonance. Additionally, we’ll often paint the bores of Jinashi with lacquer, traditionally urushi lacquer. This is the most limited approach to crafting shakuhachi. As a result, it’s often the case that we can’t fix some acoustical issues through subtraction alone.
When a Jinashi becomes a Jimori 地盛り type shakuhachi
When we can’t fix an issues with subtraction than addition is what’s required. We make these additions to the bore by applying small amounts of paste in just the right spots. Just like with subtractions, we carefully adjust these additions. In the end, additions and subtractions are two sides of the same coin. Lastly, just like Jinashi we can either leave the bore raw or lacquer it.
Jinuri 地塗り aka Jiari and cast-bore – types of shakuhachi with human made bores
Conversely, crafters of Jinuri aka Jiari and ‘cast-bore’ type shakuhachi completely fill and form the inside of the bamboo with plaster or glue. The resulting bore shape or ‘profile’ is not found in bamboo naturally. This entirely human made bore is repeated inside each piece of bamboo. This essentially makes the bamboo a veneer; a ‘shell’ or ‘container’ for the same repeated/fabricated bore (bores vary by maker). Additionally, they often have joints or joining work (see below). In short, while they might be bamboo on the outside, they’re not bamboo on the inside.
One-Piece Jinashi or Jimori type Shakuhachi vs. two-piece Jiari
In the pictures above we can see that the total length/pitch for the Nobé or ‘one-piece’ shakuhachi is mostly decided by nature. Specifically, the natural distance between the topmost node where the blowing edge goes and the bottom roots. Conversely, in the picture of the Jiari we see that cutting and joining allows the craftsperson to change/select the length/pitch (note that some Jiari type instruments may not have a center joint but can often have hidden joining work underneath inlaid rattan binding wraps). Lastly, some Jinashi or Jimori may have joining work or joints as well, though rare.
Advantages of quality Jinashi and Jimori vs. Jiari
- Lighter weights, particularly with longer shakuhachi.
- Exceedingly more variety. This includes a higher number of larger sized shakuhachi available as well as keys not found on an in tune modern piano, such as those used during Edo period Japan.
- Usually made in one-piece or Nobé so they’re more structurally sound. Conversely, Jiari often have a center joint which can be broken and also requires care or maintenance
- Far easier to repair when or if cracking occurs and the sound will not be affected. Conversely, cracks in Jiari often dislodge the plaster, making it difficult or impossible to restore to original. Of course, this often makes repairing said cracks in Jiari more difficult and costly.
Advantages of quality Jiari vs. Jinashi and Jimori
- Can be split into two pieces for easy travel if they have the typical center joint.
- Can be made to play ultimately louder and faster than any relative Jinashi and Jimori.
- Quality examples are far less rare when compared to Jinashi and Jimori, but mostly for standard lengths/keys only.
Definitions
- Ji ‘paste’ – traditionally a paste/plaster made by mixing urushi and jinoko stone powder. However, now ‘ji’ can be anything that sticks to bamboo, e.g., glue (not to be confused with lacquer which is painted onto the inner bore and is usually brown, black, or red in color).
- Ji-nashi ‘paste-none’ – strict definition is no paste whatsoever. People both inside and outside of Japan either adhere to this strict definition or not.
- Ji-mori ‘paste a portion’ – portions of the bore have Ji, usually very small areas.
- Ji-nuri ‘pasted/plastered’ – the whole bore is covered in paste/glue and shaped or casted into a predetermined, human made shape which is not found in bamboo naturally.
