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Norizome was created in Japan, and without any foreign influence, came to be developed completely through Japanese influence for a long period of time. Today it remains a unique process. Although the origins of Norizome are not certain, it is often said that the climate in the Setouchi region are the best for dye. During the Edo Period, in the Konyacho district of Takamatsu Castle, there were many dye shops that specialized in adding various lifestyle glue patterns to an indigo dye for use in field clothes and kimono. The art was further refined not just through clothes, but also through curtains and ornaments. In recent times it also enjoys usage during the traditional Chinese Lion Dance festival and as furniture for a new marriage, as well as regular bedding.

Sanuki Norizome is generally classified by the glue resist or the stencil dye. For the glue resist, a rough sketch is delicately drawn on a mulberry paper cone using the rice-flour-based glue in a wringing method. The curves, freely drawn by hand, come together with the spontaneous reinforced lines of the pattern for a unique feel. For the stencil dye, the same pattern is drawn on mulberry-hardened paper by placing the glue. The same design is then repeated. The placement of the glue in stencil dye allows for much finer patterns than in the glue resist method, which also makes the mass production of high-quality dyes possible. The current printing methods each have a different flavor based on the materials used. The hand-draw and the molding allow you to enjoy these wonderful items. A rough sketch is delicately drawn on a mulberry paper cone using the rice-flour-based glue. (The wringing method is similar to that of decorating cakes with cream) The curves, freely drawn by hand, come together with the spontaneous reinforced lines of the pattern for a unique feel. The same pattern is drawn on mulberry-hardened paper by placing the glue. The same design is then repeated. The placement of the glue in stencil dye allows for much finer patterns than in the glue resist method, which also makes the mass production of high-quality dyes possible.

Using glue made from rice-flour for resist dyeing. As the making of the glue and setting it on the cloth are affected by the climate, especially by changing in humidity, it is not an easy task. Although this dyeing method by hand requires a great deal of time and effort, it creates a style that cannot be reproduced by a printer or dyeing machine. The state after the Aizome (Indigo Dye). The pattern is left behind in white without dyeing on the portion where the glue has been applied.

1 Refinement In order to make the hemp, cotton, silk, etc. easy to dye, all foreign substances included in the cloth (oils, dirt, pastes) are completely removed. Although this process cannot be seen by the eye, it is a very important process that affects the quality of the dye. 2 Glue Setting The designed sketch is placed underneath the materials. The rice-paste glue is put inside of a cylinder (made from Japanese paper hardened by mulberry), and the pattern is created by delicately following the sketch in a wringing motion. 3 Drying Allowing the glue to dry. 4 Adding of Materials To effectively stop the dye from sweating, materials such as cloth glue are added. 5 Coloring Dozens of colors are added to the main design by paint brush. 6 Application of Glue For a ground dye, glue is applied to all areas where there is coloring. 7 Ground Dye ・Dye Extract A brush that has been thoroughly soaked in dye is used to bring out (apply) the dye. ・Aizome (Indigo Dye) The glue-applied item from before is soaked plenty of times in indigo extract to bring out the deep coloring. 8 Final Process Any excess dye or glue on the cloth is rinsed away with water. 9 Drying Sun dried to avoid any wrinkling. 10 Finish The item is completed.		Drying Apply The Glue, Then Allow To Dry Coloring Coloring work to bring out the colorful pattern. The dye is diligently applied to the limited framework.
Drying　 On a nice day, they are lined up to dry tightly packed together.		Aizome　 Color is applied to the entire item through an indigo vat. Repeated soaking makes for the rich color.

Click to see scenes of production.

Born in 1934, he is the 6th director of the dye factory since it was established in the Edo Period in 1804. He is currently training Mr. Makoto to become the seventh director of the shop. While he continues his work in making dresser covers, shrine banners, and necessary items for festivals, he also currently receives requests for handkerchiefs, lunchon matss, wall scrolls, and other decorative items. He has instructor-level skills in calligraphy. He was invited to be a guest lecturer at the University of Washington in Seattle, in America. He also serves as an established instructor for calligraphy, color dyes, and traditional Japanese arts and crafts. He began work in this area at the age of 20, and really developed a passion for it starting at the age of 25.

"The people from old times are really incredible. If you properly observe and protect every single dyeing rule that has been established from the old times, you'll get a beautiful finish with no errors whatsoever. However if you make a mistake in even one of the processes the whole thing is ruined" - Words from the artist. These items are dyed through a process and knowledge inherited from predecessors, where the best care must be upheld at the sketching, coloring, and finish stages. A process that cannot be duplicated by printers and machines of the current times, it produces items with a warm feeling and a deep flavor. This dyeing method, handed down from previous generations, combines tradition and new innovations to bring out the wonder of dye.   Having survived a fire, these are an extremely important dye sample book from the Edo Period

JP¥ 130,450 Size 162cm x 110cm A celebratory banner sent as a present for birthdays and weddings. For an added cost a name or other phrase can be added before sending. As a guide, around 4-15 kanji characters can be added - English letters are of course also OK. We are determining prices on an individual basis, so for further information please first send us the phrase you would like used. here

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	A wall scroll with the Yutan pattern for a new marriage. This striking pattern is brought out by dye to wish for longevity. The earthy color is made my Aizome (Indigo Dye). A "Yutan" is a large cloth made from oil paper, cotton, etc, and serves as the cover that protects the trousseau - a dresser chest that holds a bride's important items. It is also used as a cover to the koto (Japanese harp), and in the Chinese Traditional Lion Dance, the "kaya" that people dance underneath can also be considered a Yutan.
	The Yutan of the Lion Dance

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	The "Taka" Chinese character from the Takamatsu clan has been imprinted by dye on the back. This item, called a "Hanten", is classic wear from the Edo Period. Even now it is still worn at festivals and various events. JP¥ 300,450

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		A dye of the phoenix, a congratulatory omen, in a frame for a wall ornament. Please enjoy it as an interior item to add a little spice to your room. JP¥ 300,450 Size 77cm x 107cm

	A dye of a tea utensil, in a composed frame for a wall ornament. JP¥ 200,450 Size 53cm x 78cm	The legend of the dragon, a tale from Sanuki, has been made into a tablet. The dragon, holding various treasures, dances between the emboldened sky and sea. The reinforced lines are attention-getting, making this a very impacting item. Recommended as a detailed interior item. JP¥ 150,450 Size : 48cm x 113cm

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A mark indicating a traditional craft product of Kagawa Prefecture. Indicates an product for use in everyday life recognised as being created using traditional materials and techniques passed down from at least the Meiji era.