A bright cut-glass pattern is a finished surface, not a complete process specification. Tokyo’s Edo kiriko reference distinguishes positioning the pattern from abrasive cutting and later polishing, and lists more than one kind of glass.
Technique and structure
For marking out, the account uses a bamboo stick to establish a position from the vessel’s mouth and an evenly divided paper cylinder to determine horizontal positions. Rough cutting and the next cutting stage use different abrasive grain sizes and wheel profiles chosen for the design. Stone-wheel work is a separate operation, followed by polishing with powder on a wooden wheel of paulownia or willow. These are changes in operation and tooling; they should not be collapsed into a single claim that the pattern is merely scratched onto a finished glass.
The glass body is a separate question
The listed traditional blanks include crystal glass and soda-lime glass. The source also discusses both coloured-overlay and clear examples. A craft name or cut motif alone therefore does not establish the glass composition of a particular vessel.
When reading a product description, look for the body material as well as the cut work. Neither a photograph nor this process outline supplies a model’s thermal-use limits.
For international readers
Confirm the actual glass material and maker’s washing and temperature instructions. No dishwasher, hot-drink or impact-resistance claim is inferred from the craft name.
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日本語
江戸切子：割り出し・切削・研磨を分けて読む
江戸切子の工程では、竹棒や等分した紙筒による位置の割り出しと、粒度や車の形を使い分ける切削、砥石車の工程、木車と磨き粉による研磨を区別しています。生地もクリスタルガラスとソーダ石灰ガラスを記載。文様名だけで材質や耐熱性を判断しないための解説です。