Edo era
Pale Blue & Vermillion— 浅葱と朱
The faded blue of Shinsengumi jackets against shrine-gate vermillion — restrained power.
red · 3 palettes
朱
Shrine vermillion
Shu (朱) is a mid-tone, vivid red tone. Its hex value is #D8453A — that is
RGB 216, 69, 58, or HSL 4°, 67%, 54%.
Shrine vermillion.
It holds 4.8:1 contrast against dark, so Shu works best for body text, headings, and UI labels. (On white it scores 4.3:1; on black 4.8:1.)
Across Sanzo Wada's 1933 Dictionary of Color Combinations, Shu appears in 3 combinations — most often paired with Gofun, Asagi and Sumi.
Shu (朱) is the bright orange-red of cinnabar pigment — mercury sulfide ground to powder and bound in lacquer. It's a mineral, not a dye, which gives it a luminous, almost glowing quality that no purely-red pigment can match. Shu is the colour of Shinto torii gates, temple pillars, ceremonial bowls, and the lacquerware traditions of Wajima and Kyoto.
Culturally it carries a completely different register from the textile reds: shu signals the sacred, the threshold, and the protective. The red lacquer on a temple gate is not decoration — it is a colour with apotropaic function. In contemporary design it works for hospitality, religious or wellness brands, and any project that needs to feel 'doorway' or 'entrance.'
Working note: Three-colour palette: shu, ink-black (sumi), and gold leaf — the temple-architecture combination. Reads as ceremonial without reading as tourist.
Shu appears in 3 combinations from the archive. Each pairing reveals how the same color shifts character depending on its neighbours.
From the archive
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