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.)

Jinashi 地無し

Strictly speaking, Jinashi are shakuhachi in which the maker works with each unique bamboo bore via subtraction only, i.e., by carving or sanding away at it. In so doing, they try to achieve their desired level of tuning and tonal balance or resonance. Additionally, makers will often paint the bore of Jinashi with lacquer (traditionally urushi lacquer). Jinashi is the most limited approach to crafting shakuhachi, and as a result, it's often the case that some acoustical issues cannot be harmonized through subtraction alone...

When a Jinashi becomes a Jimori 地盛り

When subtraction can't fix an issue with a Jinashi, addition is what's required. This is done by applying small amounts of paste in just the right spots on the inner bore. Just like with subtractions in Jinashi, these spots of paste in Jimori are carefully worked to achieve the desired results. In the end, additions and subtractions are two sides of the same coin. Lastly, just like Jinashi, Jimori bores can either be left raw or lacquered over, but they're usually lacquered.

Jinuri 地塗り aka 'Jiari' and cast-bores

Conversely, the inner bore of Jinuri/'Jiari' and 'cast-bore' type shakuhachi are completely filled and formed 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, essentially making the bamboo a veneer; a 'shell' or 'container' for the same repeated/fabricated bore (Jinuri bores do vary by maker). Additionally, they often have joints or joining work (see below). Thus, Jinuri, while bamboo on the outside, are not the shape of bamboo on the inside.

One-Piece Shakuhachi vs. Jointed

Nobé 'one-piece' Jinashi or Jimori shakuhachi…

Two-piece jointed Jinuri shakuhachi…

Like the Japanese craftspeople of the Edo period, I mostly craft nobé or 'one-piece' Jinashi and Jimori shakuhachi. Taking a look at the pictures above, we can see that the total length/pitch for the Nobé 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 Jinuri we see that cutting and joining allows the craftsperson to change/select the length/pitch (note that some Jinuri 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 more rare.

Advantages of quality Jinashi and Jimori vs. quality Jinuri

• Lighter weight, 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, Jinuri 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 sound will not be affected. Conversely, Jiari cracking can dislodge the plaster making it difficult to impossible to restore to pre-cracked condition and sound. Of course, this often makes repairing cracks in Jiari more difficult and costly as well.

Advantages of quality Jinuri vs. quality 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 but now 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 they do 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

➤ Visit my shakuhachi for sale page to see what's available.

Below you'll find additional useful reading:

• Shakuhachi buying guide - how to buy shakuhachi
  Including insight into shakuhachi prices or value.
• The Shakuhachi
  All about the essence of the shakuhachi or what sets it apart from other flutes.
• Japanese Madaké Bamboo for Shakuhachi
  All about Japanese Madaké bamboo for shakuhachi.
• Shakuhachi bore sizes: wide, medium, and narrow - a ratio of volume to length
• Traditional tapered shakuhachi bores vs. cylindrical bore flutes, such as pvc.
• No 'Best' Shakuhachi
  An essay about how there's no such thing as the 'best' shakuhachi.
• The Shaku and Shakuhachi
  All about the shaku lengths; 1.8, 1.9, 2.0 and so on.