古くから、場を清め、人々の心を癒してきたおりん。

その美しい音色は奥深く、うねりに耳を傾けると穏やかに広がる波紋に身も心も包まれ、ほぐされていく。

黄銅の板から幾つもの金槌によってかたちを成し最後に、音は相応しいうねりへ導かれ命を吹き込まれる昇龍のおりん。

そのかたち、その音色は、それぞれの個性を持つ。

どこまでも続くような音の海。自らと響きあう音との出会いを。

Ancient times, there has been an "orin" that purifies the space and soothes the hearts of people.

Its beautiful sound is profound, and when one listens closely to its undulating melodies, they become gently enveloped in spreading ripples, both physically and spiritually, gently unwinding.

Forged from brass plates, shaped by numerous hammers, and finally infused with life, the "orin" is like a rising dragon guided to its appropriate undulations.

Its form, its sound, each possesses its own uniqueness.

An endless sea of sound stretches out, inviting encounters with harmonious echoes of the self.

昇龍のおりんには、「甲・乙・聞」の３つの音が存在します。 昇龍のおりんは、真鍮を叩き、焼き鈍しを繰り返す鍛金技法によって作られます。 「叩く」にあっては、百余りある金槌・木槌から、用途に応じた道具が使い分けられ、経験がものがたる確かな技術と、五感を超えた繊細な感性により、唯一無二のおりんが生まれます。 Shoryu's orins are made by a forging technique in which brass is beaten and annealed repeatedly. The "striking" is done with one of more than 100 hammers according to the purpose.  One-of-a-kind of orin is created by a reliable technique that draws on experience and a delicate sensitivity that transcends the five senses. 昇龍の響きは「甲・乙・聞」（かん・おつ・もん）の３つの波紋に表現され それらがバランスされるとき、放たれる波に "ただしいうねり" があらわれる。 "ただしさ" とは、 "相応しさ"。 一点を叩きながら周囲を捉え、響きを通して全体をみる。 縁起の法を響にみて微細な調整を繰り返し、 それ相応のバランスへとととのえる。 打った "甲（かん）" の音から "乙（おつ）" のゆらぎをわたり 深く寄せてひろがる "聞（もん）" の波紋へ すべての工程は、その響きのために The sound of the ascending dragon is expressed in the three ripples of "KAN-OTSU-MON". When these ripples are balanced, a "Correct undulation" appears in the released waves. "correct" means "appropriateness". While striking a single point, he grasps the surroundings and see the whole through the echoes. Repeatedly making minute adjustments by looking at the law of dependent in the echoes, and bring it to a suitable balance. From the sound of the struck "KAN" (the first note) , we hear the "OTSU" (the second note) wavering to the ripples of the "MON" echo, which draws in deeply and spreads out. All the process is for the sake of the echoes.

おりんを鳴らす際は、ばい（リン棒）で上部の少し厚くなっている部分を叩きます。胴体部分は薄く、叩くと凹んでしまいますので叩かないでください。 上部の側面を下から上に叩くと美しい音が鳴ります。最初は優しく、「甲・乙・聞」の3つの音を感じながら、少しずつご自身の気持ちのよい加減を見つけていただけますと幸いです。 胸よりも高い位置で鳴らしていただくのと、より降ってくるような音のうねりを感じていただけます。横になって鳴らしていただくのも良いと思います。ぜひお試しください。 The articulation work is a technique passed down from Buddhism that has been handed down to the present day. It is also a process of repeating the process of hitting and listening to the sound to derive a harmonious sound. Since the kogo is both a Sanskrit instrument and a musical instrument, it is not completed until after the shape is formed, the final stage is the articulation. Therefore, no matter how good the shape of the Orin is, if the articulation is not correct, it will not work as a Orin (instrument). In addition, there are three sounds in the craftsman's language, "ko, otsu, and mon". The ``Kan'' sound is the ``Ka-N'' sound that is produced at the moment the ko is struck. The sound of "Otsu" is a mid-range sound that sounds like "Wa-n-wa-n". The sound of "mon" is the sound of "mo~~~n-mo~~~n" that continues until the end. There are three sounds in each of the Orin, each with a different wavelength (undulation). First, adjust the sound of "ko", then adjust the sound of "otsu" so that the rhythm of "ko" does not go out of order. , Finally, adjust the sound of "Ki" so as not to change the rhythm of both "Ko" and "Otsu".