おりんOrin

仏様や先祖、故人への祈りや供養のために、合掌したり読経をする際に鳴らすおりん。その長く伸びる音色には、聴いているうちに心が鎮まり、場が清められていくような、目に見えない存在との関わりを繋いでくれるような、日常に溢れる音とは異なる響きがあります。創業190年、京都・宇治に工房を構える南條工房は、薪を使った焼型づくりに始まる昔ながらの鋳造法で、佐波理(さはり=銅に錫を配合した合金)製のおりんを製造しています。鳴り物と呼ばれる音の鳴る神仏具のほか、祇園祭の囃子鉦も手がけ、大船鉾には初代南條勘三郎の銘が入ったものが受け継がれています。近年では長刀鉾・函谷鉾・北観音山・南観音山などの山鉾に納められ、コンチキチンの軽快なお囃子が京都の夏を彩ります(2021年は新型コロナウイルス感染症の拡散防止のため昨年につづき山鉾巡行の中止が決定)。

七代目の南條和哉さんは、奥様のご実家である南條工房を初めて訪ねた時、その音色に衝撃を受けたと言います。「それまで聞いたことのあるおりんの音と全く違っていました。何度鳴らしても綺麗に重なって一つになり、どこまでも伸びていくのがうちのおりんの特徴です。佐波理の銅と錫の配合や薪で型を焼くことも音に影響するので、工程は昔からひとつも変えていません。鋳造は千度以上の炎の中で起きることなので、人間の手で変えられる領域ではないですし、音が悪くなるかもしれないことはできないですね」。作業の大半は型を一つずつ土と粘土でこねて乾かし焼く、金属を熱したり冷ましたりしながら音色を慎重に確かめて慎重に削るという地道なものですが「これがいい音をつくる上で一番の近道と思っています」。型作りに欠かせない籾殻は近所の農家さんが廃棄する前にもらい、型は土に戻し、佐波理の削りカスや不良品は溶かして再利用する、水は貯めた雨水を使う。自然の恵みを生かした循環には、余分も不足もありません。使い込まれた作業台や道具も積年の灰も、工房のすべてが音を生む準備を静かに整えているように感じます。

南條さんは、もっと気軽にこの音を聞いて欲しいと2019年にブランド「LinNe」を立ち上げました。「80代の職人さんと一緒に、小さくても僕らにしかつくれない音を作ろうと何回も試作を重ねてやっと納得のいく音ができてからはじめてブランディングを考え、近所の昇苑くみひもさんに紐の部分を相談して、今の形になりました」。仏具店以外のライフスタイルショップなど今までとは違う場所に置けるものを作ったことで、おりんに改めて興味を持つ人や工房を訪れる人も増え、異分野との共同制作など想像以上の広がりがあり、ご自身もこの仕事は音をつくる仕事だと再認識したといいます。「仕事の前に気持ちを整えるために鳴らす方、仏前に置いて朝晩のご挨拶に鳴らし、亡き人と気持ちを通わせる方。皆さんそれぞれの使い方を教えてくださるのも嬉しいし、ありがたいことです。いまは祈りの形も多様化しています。これからも身近に皆さんにおりんの音色に触れていただける機会をつくりたいと思っています」。

 

– 写真説明 –

写真説明

[Ⅰ]佐波理製おりんは、音のよさはもちろん、銅と錫の配合によって本物の金を使わずに金色のものができるのも特徴のひとつ。
[Ⅱ]作っても作っても終わらない型作り。使いやすいように手作りした50年来の作業台で。
[Ⅲ]月に3度の鋳造の日は1500度以上の窯に坩堝を入れ佐波理を溶かし、この器に移して型に流し入れる。夏場には60度近くになる現場に職人5人が総出で一日がかりの作業となり、最も緊張の高まる時間となる。
[Ⅳ]籾殻、雨水、土、すべて天然素材で混ざり物がないので効率よく再利用できる。
[Ⅴ]削るほどに音は低くなる。少し削るだけで音がかわるので、調律は慎重に。一音一音、確かめながら削っていく。

The Orin is rung when we join our hands or chant a sutra to pray or make offerings to the Buddha, our ancestors, or the deceased. Its long, growing sound has a different resonance to the sounds we hear in everyday life, as if it calms the heart, purifies the place, and connects us with invisible beings. Founded 190 years ago, Nanjokobo, with its workshop in Uji, Kyoto, produces Orin made of Sahari (an alloy of copper and tin) using a traditional casting method that begins with the use of firewood for making the mould. The workshop also makes sounding instruments for rituals of Shinto and Buddhism, and the musical gongs used at the Gion Festival. The gong of the Ofune-hoko float used at the Gion Festival bears the name of the founder: Kanzaburo Nanjo. In recent years, the gongs that Nanjokobo produced have also been installed in floats of Naginata-hoko, Kanko-hoko, Kitakannon-yama and Minamikannon-yama. The lively musical accompaniment of Konchikichin will add colour to the summer in Kyoto. (The Yama-hoko demonstration of floats has been cancelled for 2021 to prevent the spread of the coronavirus infection.)

When Kazuya Nanjo, the 7th generation of the family, first visited the Nanjokobo, his wife’s family home, he was struck by the sounds of their Orin. Kazuya says: “It was completely different from the sound of Orin that I had heard before. No matter how many times you ring it, it always comes together beautifully and stretches out forever, which is the characteristic of our Orin. The combination of copper and tin of Sahari and the firing of the moulds with firewood also affect the sound, so the process has not changed one bit since the establishment of the business. Casting happens in flames of over 1000°C, so it is not an area that can be changed by human hands, and we cannot do anything that might affect the sound of Orin”. Most of the work involves time and effort: kneading the moulds one by one with earth and clay, drying and firing them, heating and cooling the metal, and carefully checking the tone and carving them. “I think this is the quickest way to get a good sound,” says Kazuya. The rice husks that are essential for making the moulds are given by a local farmer before they are discarded, the moulds are returned to the soil, the scraps and defective pieces of Sahari are melted down and reused, and the water used is stored rainwater. There is no excess or deficiency in the cycle of nature’s bounty. Everything in the workshop seems to be quietly preparing itself for the creation of sound, from the well-used worktables and tools to the ashes accumulated over the years.

In 2019, Kazuya launched the brand LinNe to make the sound of their Orin more accessible. “We worked with artisans in their 80s to make a sound that only we could make, even if it was small. After making a number of prototypes, we were finally satisfied with the sound and started to think about branding. I consulted with my neighbour Showen Kumihimo (https://showenkumihimo.com/) about the strings, and that is how it came to the form we have today.” By creating a product that can be promoted in different places other than Buddhist altar shops, such as lifestyle shops, the number of people who are interested in Orin and visit their workshop has increased. The work has expanded beyond expectations, including collaborations with people from different fields. This experience made Kazuya rediscover that his profession is to creates sounds which travel. “There are those who ring it before work to set their minds at ease, and those who place it in front of the Buddha altar to greet it in the morning and evening or to communicate with the deceased. I am happy and grateful that everyone has their own way of using it. Nowadays, the forms of prayer are diversified. I would like to continue to create chances for people to come into close contact with the sound of Orin.”

 

– photo explanation –

[Ⅰ]The Sahari Orin is not only good for its sound, but also for the fact that the combination of copper and tin makes it possible to produce a golden colour without using real gold.
[Ⅱ]Making moulds that never end. On the handmade workbench that has been used for 50 years.
[Ⅲ]On the three casting days a month, the crucible is placed in a kiln at over 1500°C to melt the Sahari, which is then transferred to this vessel and poured into the mould. This is the most stressful part of the day, with all 5 craftspersons working on site, where the temperature reaches nearly 60°C in the summer.[Ⅳ]Rice husks, rainwater and soil are all natural materials and can be reused efficiently as nothing is mixed into them.
[Ⅴ]The more we carve, the lower the sound becomes. Tuning is conducted carefully for these delicate sound changes. Each note is checked as it is carved.

 

Photography by Tomoko Hayashi

LinNeChibi

(M)JPY ¥15,000 (excluding tax)
(S)JPY ¥13,500 (excluding tax)

有限会社南條工房 Nanjokobo Ltd.

〒611-0041 京都府宇治市槙島町千足42-2 42-2 Senzoku, Makishima-cho, Uji City, Kyoto 611-0041 JAPAN

+81 774-22-2181

Website: https://linne-orin.com/

E-mail: info@linne-orin.com