高岡鉄器 鋳鉄製で筆を２本置ける筆置きにもなるし、文鎮にもなります。 今回の午文鎮の中でもアーティスティックな作りでサイズは4.7×12.3×3cm

高岡銅器の技術で仕上げた筆置文鎮になります。 親子の馬が穏やかに寄り添う姿をかたどり、午（うま）＝うまくいくという縁起を込めて作られました。 ペーパーウェイトとしてもお使いになりますので実用性とともに贈答品・記念品としてもぜひ。 サイズは4.1×12.5×2.6cm 235g

高岡鉄器 鋳鉄製で、午の足元には大判小判がザックザクの運気向上・金運アップ文鎮になります。 サイズは4.8×12.3×3cm

高岡鉄器 鋳鉄製で筆を２本置ける筆置きにもなるし、文鎮にもなります。 サイズは5.2×13.8×2.5cm

大きな下敷きを持ち運ぶ用のカバンになります。 実際に３×１０尺の下敷きでもすっぽり入ります。 今回、このチェックのシンプルな柄のものがいくつかありますので、こちらで販売させていただきます。ものとしては１０年以上前のものになりますので、割引価格で販売いたします。 This bag is designed for carrying large calligraphy mats. Even an extra-large mat of 3×10 shaku (approximately 90×300 cm) fits comfortably inside. We have several pieces available in this simple checkered pattern, which we are offering for sale this time. Since these bags were made more than 10 years ago, they are being offered at a special discounted price.

経済産業大臣指定伝統的工芸品　鈴鹿墨 かつては奈良に次ぐ墨の名産地で今では三重県鈴鹿市白子地区で唯一となった鈴鹿墨の墨匠『進誠堂』で作られた0.7丁型の色墨になります。 こちらは鈴鹿の職人さんが昨年ドイツに行った時に仕入れた、ドイツの朱色顔料を使用して製造したドイツ朱墨で重厚感ある朱色となっております。残り30丁ほどしかない墨の一部を仕入れさせていただきました。 とはいえ、初入荷品ですので、最初は割引対応させていただきます。 Designated Traditional Craft by the Minister of Economy, Trade and Industry — Suzuka Ink This 0.7-chō-sized colored ink stick was handmade by Shinseidō, the only remaining ink-making workshop in the Shiroko district of Suzuka City, Mie Prefecture, once the second-largest ink-producing region in Japan after Nara. This special ink, called “German Vermilion,” was produced using vermilion pigment imported from Germany, which the Suzuka craftsman personally obtained during his visit there last year. The result is a deep, dignified shade of red with remarkable weight and presence. Only about 30 sticks of this limited batch were made, and we were fortunate to obtain a small number for sale.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約34cm×約138cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 漢字用の紺紙ですが、滲みは押さえた紙でマス目は３×３ｃｍになります。 This set includes 10 sheets of handmade calligraphy paper (gasan-shi) in half-cut size — approximately 34 × 138 cm — a standard format widely used in Japanese calligraphy. The paper is made from handcrafted kana-style gasen with a special treatment to minimize ink bleeding, ideal for fine brush control. Although originally designed for kanji calligraphy, this version features a 3 × 3 cm printed grid to assist in maintaining balance and alignment when copying sutras. Cultural Note — About Shakyō (Sutra Copying) Shakyō (写経), or sutra copying, is a traditional Buddhist calligraphy practice that involves transcribing sacred texts by hand as an act of mindfulness, devotion, and spiritual purification. It is said that the steady rhythm of writing helps calm the mind and deepen concentration, making it a respected art form as well as a meditative practice. Optional description line for e-commerce use Perfect for calligraphy practice, Buddhist sutra copying, or mindful writing sessions.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、柄は色が柿茶系で二色の渦のぼかしが入っていて切箔が多めに入っております。3枚目は色違いですが、全体のイメージがつきやすいかと載せています。 This is a set of five sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), a standard format widely used in Japanese calligraphy. The paper is specially treated to reduce ink bleeding, allowing smooth and controlled brushstrokes. Produced and decorated in Kyoto, this ryōshi (decorative paper) features a two-tone spiral “bokashi” gradation pattern — a soft blending of two colors inspired by whirlpool motifs — in a persimmon-brown tone (kakicha-kei). The surface is richly embellished with gold and silver cut foil (kirihaku), giving the paper a gentle shimmer when it catches the light. Please note: the third sample image shows a different color variation, to help convey the overall design impression. Cultural & Terminology Notes (for international readers) Bokashi (ぼかし): a traditional Japanese technique of gradual color blending or shading, often used in calligraphy and dyeing. Kakicha (柿茶): a warm brown hue inspired by the color of ripe persimmons — a classic tone in Japanese aesthetics symbolizing calmness and harmony. Kirihaku (切箔): tiny squares of gold or silver foil applied to decorative paper, giving it an elegant, glimmering texture.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙でドーサ引（強めな加工）ですが滲みは少なめ程度で、全体ぼかしに砂子が入ったシンプルな組み合わせでベースの色が梅茶（ピンク系）になります。 This set includes 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), one of the most common formats used in Japanese calligraphy. The paper is handcrafted and processed in Kyoto, featuring a stronger dosa coating (a traditional sizing treatment) that controls ink absorption while maintaining a soft and natural bleed suitable for elegant kana writing. The surface has a subtle overall color gradation with fine sunago (gold or silver powder flakes), creating a simple yet refined appearance. The base tone is umecha, a traditional plum-brown hue—a gentle pinkish-brown color inspired by the soft shades of plum blossoms, symbolizing warmth, grace, and the coming of spring in Japanese aesthetics. Terminology Notes (for clarity) Dōsa (ドーサ引き): A coating made from animal glue and alum applied to washi to control ink spread. Sunago (砂子): Tiny particles of metallic powder or foil scattered decoratively across the surface. Umecha (梅茶): A traditional Japanese color combining brown and a hint of pink, evoking the delicate hue of plum blossoms.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙でドーサ引（強めな加工）ですが滲みは少なめ程度で、全体ぼかしに砂子が入ったシンプルな組み合わせでベースの色が渋鶯（暗めの緑系）になります。 This set includes 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), one of the most widely used formats in Japanese calligraphy. The paper is handcrafted and finished in Kyoto, featuring a strong dōsa coating (a traditional sizing process) that effectively controls ink absorption while preserving a gentle, natural bleed—ideal for elegant kana writing. The design features a soft all-over color gradation with delicate sunago (fine metallic powder flakes) scattered across the surface, giving a refined and understated shimmer. The base color, Shibu-uguisu, is a deep olive-green tone inspired by the subtle plumage of the Japanese bush warbler (uguisu). This traditional color represents elegance, tranquility, and natural refinement, often used in Japanese art and textiles to express a quiet sense of harmony. Terminology Notes Dōsa (ドーサ引き): A traditional coating of glue and alum applied to handmade paper to prevent excessive ink bleed. Sunago (砂子): Fine gold or silver flakes sprinkled decoratively across the paper surface. Shibu-uguisu (渋鶯): A muted, dark olive-green hue derived from the natural tones of the bush warbler, symbolizing understated beauty in Japanese aesthetics.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙でドーサ引（強めな加工）ですが滲みは少なめ程度で、梅茶色ベースに切継風に色が入ったぼかしの中に大小金銀砂子があり、さらに全面に胡粉を使った型打ちがあり鮮やかな柄になっています。 This set contains 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), a standard format widely used in Japanese calligraphy. The paper is handcrafted and processed in Kyoto, featuring a strong dōsa coating that minimizes ink bleeding while maintaining smooth brush flow—ideal for refined kana work. The base color is umecha, a soft plum-brown tone, with a kiritsugi-style bokashi (patchwork-like color gradation) that blends subtle shades across the surface. Within the gradation, gold and silver sunago (metallic flakes) are scattered in various sizes, adding delicate shimmer and depth. In addition, the entire surface is adorned with a pattern created using gofun (white shell powder), resulting in an elegant and vivid decorative finish that reflects the beauty of traditional Kyoto craftsmanship. Terminology Notes Dōsa (ドーサ引き): A traditional sizing process using glue and alum to control ink absorption. Kiritsugi (切継): A decorative style that combines or overlays different colors or patterns in a patchwork-like manner. Sunago (砂子): Fine gold or silver flakes scattered across the paper for subtle brilliance. Gofun (胡粉): A natural white pigment made from powdered seashells, used in traditional Japanese painting and paper decoration. Umecha (梅茶): A warm, pinkish-brown tone inspired by plum blossoms, symbolizing elegance and serenity in Japanese aesthetics.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙でドーサ引（強めな加工）ですが滲みは少なめ程度で、グレーベースに切継風に色が入ったぼかしの中に大小金銀砂子があり、さらに全面に胡粉を使った型打ちがあり鮮やかな柄になっています。 This set contains 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), a standard format widely used in Japanese calligraphy. The paper is handcrafted and finished in Kyoto, featuring a strong dōsa coating that helps control ink absorption while maintaining a natural and elegant bleed—ideal for graceful kana writing. The base tone is a refined gray, accented with a kiritsugi-style bokashi (patchwork-like color gradation) that softly blends subtle hues across the surface. Within this gradation, gold and silver sunago (fine metallic flakes) of various sizes are scattered, and the entire surface is decorated with gofun (white shell pigment) pattern printing, creating a vivid yet sophisticated finish. In traditional Japanese aesthetics, gray (hai-iro) is valued not as a dull color but as a neutral tone that embodies balance, calmness, and quiet refinement—often used in calligraphy papers and inkstone packaging to enhance the beauty of the written characters. Terminology Notes Dōsa (ドーサ引き): A traditional sizing process using glue and alum to reduce ink bleeding. Kiritsugi (切継): A decorative technique blending or overlaying different tones or patterns like patchwork. Sunago (砂子): Fine gold or silver flakes scattered decoratively across the paper surface. Gofun (胡粉): A natural white pigment made from crushed seashells, used for traditional decorative patterns. Gray (灰色／グレー): In Japanese calligraphy materials, gray is often used to convey subtlety and quiet dignity rather than mere neutrality.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙でドーサ引（強めな加工）なので滲みはほぼなく、古代紫系の全体ぼかしの中に大小金砂子があり、さらに同色系の型打ちがあり鮮やかな柄になっています。 This set contains 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), a standard format widely used in Japanese calligraphy. The paper is handcrafted and processed in Kyoto, featuring a strong dōsa coating that prevents ink from bleeding, ensuring crisp and refined brush lines ideal for delicate kana writing. The design features a soft all-over gradation in kodai-murasaki, or ancient purple, with gold sunago (fine metallic flakes) scattered across the surface in various sizes. Additionally, subtle pattern printing in the same tone enhances the depth and vibrancy of the paper, giving it a beautifully balanced and dignified appearance. In Japanese aesthetics, kodai-murasaki (ancient purple) is a deep, subdued shade of purple traditionally associated with nobility, elegance, and spirituality. In calligraphy and textile arts, it represents refined taste and quiet strength, often used to convey an atmosphere of serenity and grace. Terminology Notes Hon-Kozo (本楮): Paper made from 100% genuine kōzo (mulberry) fibers, valued for its durability and natural texture. Dōsa (ドーサ引き): A sizing process using glue and alum to reduce ink bleeding. Sunago (砂子): Tiny flakes of gold or silver scattered decoratively across the surface. Kodai-Murasaki (古代紫): “Ancient purple” — a classic Japanese hue signifying dignity, harmony, and spiritual depth.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、柄は色があかね系で段階的に色が変わっていくぼかしが入っていて砂子が多めに入っております。 This set includes 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), which is half the width of the standard full-size calligraphy sheet (zen-shi: approx. 68 × 136 cm)—one of the most common formats used in Japanese calligraphy. The paper is handcrafted and decorated in Kyoto, specially treated to reduce ink bleeding while maintaining the smooth texture and natural flow ideal for kana writing. The design features an akane-toned (madder red) base with a kasumi-bokashi (mist-like color gradation) that gently shifts through multiple hues, creating a layered, atmospheric effect. Rich amounts of gold sunago (fine metallic flakes) are sprinkled across the surface, adding warmth and elegance to the overall appearance. The name “Gion” refers to Kyoto’s historic cultural district, renowned for its traditional beauty and refined artistic sensibility—qualities reflected in the gentle harmony and sophistication of this paper. Terminology Notes Dōsa (ドーサ引き): A traditional coating made from glue and alum to control ink absorption. Kasumi-bokashi (霞ぼかし): Literally “mist gradation”; a decorative technique that creates a soft, atmospheric blending of colors, evoking mist or clouds. Sunago (砂子): Tiny particles of gold or silver foil scattered across the paper for a luminous effect. Akane (茜): A warm red tone derived from the Japanese madder plant, traditionally symbolizing vitality, warmth, and the beauty of nature. Zen-shi (全紙): The standard full-size sheet used in calligraphy, approximately 68 × 136 cm; half-cut paper (hansetsu) measures roughly half the width.

漢字用画仙紙の冷金箋に瓦当印が入っています。 硬いいわゆる色紙ではなく大色紙サイズの滲み少なめな手漉き和紙が５色(白・うす黄・うす茶・赤・ベージュ)×２枚で１０枚入っています。 25枚セットよりは割高になりますので、少しだけ使いたい方用になります。 This set contains 10 sheets of handmade calligraphy paper (washi) in large shikishi size (approx. 24 × 27 cm each), made from reikin-sen, a type of high-quality gasan-shi (calligraphy paper) designed for kanji writing. Unlike the stiff, board-backed shikishi, these sheets are soft handmade washi, treated to reduce ink bleeding and suitable for brush calligraphy and ink painting. The set includes five different colors—white, light yellow, light brown, red, and beige—two sheets of each, for a total of ten sheets. It is ideal for those who wish to use this special paper in small quantities rather than purchasing the larger 25-sheet set. The paper features a decorative Gatō-mon (瓦当紋) pattern printed on the surface—a traditional circular roof-tile motif often found in ancient Chinese and Japanese temple architecture, symbolizing protection and continuity. Terminology Notes Reikin-sen (冷金箋／れいきんせん): A type of gasan-shi coated with a fine layer of metallic pigment, giving it a subtle luster while maintaining smooth ink flow. Commonly used for kanji calligraphy and decorative works. Gatō-mon (瓦当紋／がとうもん): A classic circular design derived from gatō (roof-end tiles) used in ancient temples; often associated with longevity, harmony, and cultural refinement. Shikishi (色紙): Traditionally square paper boards for calligraphy or painting. “Large shikishi size” here refers to a soft washi sheet of similar dimensions, not a hardboard type.

千代紙で巻かれた筆筒になります。9㎝直径×11.6㎝高さ 手づくり紙工品で友禅型染紙になります。 かわいい馬柄の入った今年の干支バージョンです。 This handmade brush holder is wrapped in Yuzen katazome paper, a type of washi (Japanese paper) decorated with traditional Yuzen dye patterns. The design features a charming horse motif, celebrating the Year of the Horse in the Japanese zodiac. The holder measures 9 cm in diameter and 11.6 cm in height, and is crafted as a handmade paperwork item, combining delicate craftsmanship with the timeless beauty of Kyoto’s paper arts. Cultural and Terminology Notes Yuzen Katazome (友禅型染紙): A traditional Japanese paper-dyeing technique originating in Kyoto, characterized by intricate patterns and elegant color gradations. The method was historically developed from kimono dyeing (Yuzen-zome), and is now used in fine paper crafts and stationery. Eto (干支): The Japanese zodiac, based on a 12-year cycle of animals (Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog, and Boar). Each year is associated with one of these animals and symbolizes certain personality traits or good fortune. Uma (午／Horse): The seventh sign of the zodiac, representing energy, passion, and progress. The upcoming year in Japan’s zodiac calendar corresponds to the Year of the Horse, making this design a meaningful and auspicious choice for gifts or seasonal decorations.

こちらも書を書くカレンダーですが、こちらは色紙ではない鳥の子紙で、半紙などに比べると厚手の紙になります。 鳥の子紙ですので、滲みはほとんどなくある程度の滑りもあって書きやすい紙になります。 サイズは39×54cm（2枚目以降は、手を置いたり、半切のパックを置いたりして大きさを表してみました）10枚での販売になります。 This is a calligraphy calendar made from Torinoko paper—a smooth, high-quality Japanese paper thicker than standard hanshi (practice paper). Unlike shikishi boards, these are soft sheets suitable for brush writing, offering both firmness and a pleasant surface texture for smooth strokes. Torinoko paper is known for its minimal ink bleeding and slightly glossy surface, which allows the brush to glide gracefully, making it ideal for writing calendar calligraphy or display works. The size is approximately 39 × 54 cm, close to a poster format. In the sample images, the scale is shown by placing a hand or a half-cut calligraphy paper pack for comparison. Sold as a set of 10 sheets. Terminology and Cultural Notes Torinoko Paper (鳥の子紙): A traditional Japanese paper made from high-quality pulp, sometimes mixed with kōzo (mulberry fibers). It has a smooth, eggshell-like texture—the name torinoko literally means “bird’s egg”—and has long been used for calligraphy, painting, and decorative scrolls due to its strength and fine surface. Hanshi (半紙): A standard practice-size sheet for Japanese calligraphy, smaller and thinner than torinoko paper. Shikishi (色紙): A hardboard-backed square sheet used for poetry or brush art; this product is soft paper, not a mounted shikishi.

24.2cm✕45.5cm（書を書く部分が大色紙サイズになるようできています） 毎年ご好評いただいております画仙紙使用のカレンダー色紙になります。 お急ぎで必要じゃなければ時期が後になるほど割引価格になる可能性があります。 １０枚以上必要な場合はご連絡ください。 This calligraphy calendar shikishi is made from high-quality gasan-shi (Japanese calligraphy paper) and is designed so that the writing area corresponds to a large shikishi size. It has been one of our most popular seasonal items, appreciated each year for its smooth surface and suitability for brush calligraphy or ink painting. If you do not need the calendar urgently, please note that discount pricing may become available later in the season. For orders of 10 sheets or more, please feel free to contact us for bulk pricing or availability. Terminology Notes Shikishi (色紙): Traditionally square, stiff-backed paper boards used for calligraphy or painting. In this product, the format is elongated vertically to accommodate both written calligraphy and calendar layout. Gasan-shi (画仙紙): A high-grade handmade Japanese paper crafted specifically for brush calligraphy, offering smooth ink flow and expressive line control.

24.2cm✕45.5cm（書を書く部分が大色紙サイズになっております） 丸金部分は薄い和紙を貼った金潜紙になっていて墨が弾かず書けます。 周りは鳥の子（本来は雁皮紙を主原料とした紙らしいですが、今では三椏・楮も使い強く耐久性があり墨の発色がいい紙全般で、未晒しの色が鳥の卵の殻の色に似たことに由来するんだとか）使用。 お急ぎで必要じゃない方は、待った方が無くならない限りは割引価格になる可能性があります。 This calligraphy calendar shikishi is made from gasan-shi (Japanese calligraphy paper) and designed so that the writing area corresponds to a large shikishi size (24.2 × 45.5 cm). The marukin (gold circle) portion is made of kin-senshi—a special gold-backed paper overlaid with a thin layer of washi—allowing the brush to glide smoothly without the ink repelling on the metallic surface. The surrounding area is made of torinoko paper, a traditional Japanese washi originally crafted from ganpi fibers and now often blended with mitsumata or kozo for greater strength and smoothness. Torinoko paper is valued for its durability, soft texture, and excellent ink color reproduction. Its name, meaning “bird’s egg,” comes from its natural off-white tone, reminiscent of an eggshell. Terminology Notes Marukin (丸金): Literally “gold circle,” a decorative element often used in shikishi paper to frame the calligraphy or artwork with an elegant circular gold design. Kin-senshi (金潜紙): “Gold-backed paper,” a washi laminated with metallic foil and covered by a thin surface sheet, enabling ink to adhere properly while maintaining a subtle golden sheen. Torinoko Paper (鳥の子紙): A smooth, slightly glossy washi known for its gentle color and fine writing quality. Traditionally made from ganpi fibers but now often blended with other natural fibers.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、かなの手漉きの紙にしてはお求めやすい価格になっておりまして、柄は色が柿茶・渋めのオレンジ系の色が全体ぼかしで入っています。砂子や切箔は入っていません。 This set includes 10 sheets of handmade kana calligraphy paper (gasan-shi) in half-cut size (approx. 35 × 136 cm), one of the most common formats used in Japanese calligraphy. The paper is handcrafted and dyed in Kyoto, specially treated to minimize ink bleeding while maintaining smooth brush flow—ideal for refined kana writing. Despite being handmade kana paper, this product is offered at a reasonable price, making it suitable for both practice and finished works. The design features an overall color gradation (bokashi) in a kakicha tone—a subdued orange-brown hue inspired by persimmon dyeing. There are no metallic embellishments such as sunago (gold flakes) or kirihaku (cut foil), giving the paper a simple and understated elegance that highlights the beauty of brushstrokes themselves. Terminology Notes Dōsa (ドーサ引き): A traditional coating of glue and alum that controls ink absorption and prevents excessive bleeding. Bokashi (ぼかし): A color gradation technique often used in Japanese paper dyeing and calligraphy backgrounds. Kakicha (柿茶): A warm, muted orange-brown color derived from persimmon tones, representing natural simplicity and calm beauty in Japanese aesthetics. Sunago / Kirihaku (砂子・切箔): Decorative elements of gold or silver flakes; not included in this paper for a minimalist finish.

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、柄は色が緑グレー系の全体ぼかしに砂子や切箔が多めに入っております。

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、柄は色が水グレー系の全体ぼかしに砂子や切箔が多めに入っております。

滲みの少ない加工をされた仮名用手漉き画仙紙の半切サイズ（約35cm×約136cm ／書道の全紙の紙の幅を半分にしたサイズであり、最も一般的に使用される書道用紙の一つです）になります。 京都で加工された料紙で、柄は古代紫色の全体ぼかしに砂子や切箔が多めに入っております。