60:
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330:(mercury sulfide) were used for producing red lacquer. Lacquer was used both on pottery, and on different types of wooden items. In some cases, burial clothes for the dead were also lacquered. Many lacquered objects have turned up during the Early Jōmon period; this indicates that this was an established part of Jōmon culture. Experts are divided on whether Jōmon lacquer was derived from Chinese techniques, or invented independently. For example, Mark Hudson believes that "Jomon lacquer technology was developed independently in Japan rather than being introduced from China as once believed".
741:
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38:
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762:, who has been called "Japan's greatest lacquerer". The appeal of his highly original style was in the choice of motifs and subject matter rather than embedded gold and silver. He placed lacquer panels in frames, imitating Western oil paintings. Other notable lacquer artists of the 19th century include Nakayama Komin and Shirayama Shosai, both of whom, in contrast with Zeshin, maintained a classical style that owed a lot to Japanese and Chinese landscape art.
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1031:(色漆), literally "color lacquer", was created by adding pigments to clear lacquer. The limits of natural pigments allowed only five colors (red, black, yellow, green and brown) to be used up until the 19th century, when various innovations appeared, along with the later introduction of Western artificial pigments.
615:
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As in other countries where lacquerware has traditionally been produced, the process is fundamentally quite basic. An object is formed from wood, sometimes leather, paper, or basketry. Lacquer is applied to seal and protect the object, and then decoration is added. Generally, three coats (undercoat,
781:
ware, invented in the 1670s during the Edo period, is characterized by a regular pattern of finely cut shellfish, gold leaf and silver leaf, and became popular during this period. Richly-decorated lacquerwares in original designs were popular domestically, and even more so with
Western buyers during
776:
wares invented in the 1770s during the Edo period, combined lacquer, gold, silver, shellfish, ivory, coral, tortoise shell, ceramics and other novel materials in elaborate decorations. They get their name from
Shibayama Senzo, originally Onogi Senzo, who adopted the name of his hometown on moving to
315:. The ornaments woven with lacquered red thread were discovered in a pit grave dating from the first half of the Initial Jōmon period. Also, at Kakinoshima "A" Excavation Site, earthenware with a spout painted with vermilion lacquer, which was made 3200 years ago, was found almost completely intact.
399:
techniques characteristic of
Japanese lacquerware were developed. While the method of drawing designs with a brush by dissolving gold powder in lacquer is a common technique in other countries, the method of drawing designs with lacquer and then sprinkling gold, silver, or copper powder of various
1035:
was a major innovator in this field, using not only color but also other substances mixed in with his lacquer to achieve a wide variety of effects, including the simulated appearance of precious metals, which were heavily restricted from artistic use at the time due to government concerns over
824:
1275:
Past Living
National Treasures were Shōzan Takano (高野松山), Gonroku Matsuda (松田権六), Naoji Terai (寺井直次), Yoshikuni Taguchi (田口善国), Shōgyo Ōba (大場松魚), Otomaru Kōdō (音丸耕堂), Taihō Mae (前大峰), Joshin Isoi (磯井如真), Yūsai Akaji (赤地友哉), Mashiki Masumura (増村益城), and Keishirō Shioda (塩多慶四郎).
557:(1603–1868) saw an increase in the focused cultivation of lacquer trees and the development of the techniques used. In the 18th century colored lacquers came into wider use. With the development of economy and culture, the artistic quality of lacquered furniture has improved.
59:
1042:(春慶塗), Shunkei lacquerware; it is created using transparent lacquer on yellow- or red-stained wood, so that the natural wood grain can be seen (similar to 'Kuroye Nuri' in this respect). The name is derived from the inventor who was active in
1242:
has run exhibitions focused on
Shibata Zeshin's work in four countries. The Charles A. Greenfield Collection in the United States covers the period from 1600 to 1900. Marie Antoinette's collection of domestic lacquer is split between the
311:, and is the oldest lacquer tree in the world found as of 2011. Lacquer was used in Japan as early as 7000 BCE, during the Jōmon period. Evidence for the earliest lacquerware was discovered at the Kakinoshima "B" Excavation Site in
868:
In recent decades, there has been effort made by the
Japanese government to preserve the art of making lacquerware. Through the process of designating important craftsmen such as Gonroku Matsuda (松田権六) and Kazumi Murose (室瀬和美) as
1271:
are Kazumi Murose (室瀬和美), Kōichi Nakano (中野孝一), Fumio Mae (前史雄), Masami Isoi (磯井正美), Hitoshi Ōta (太田儔), Yoshito
Yamashita (山下義人), Isao Ōnishi (大西勲), Kunie Komori (小森邦衞), Kiichirō Masumura (増村紀一郎), and Shōsai Kitamura (北村昭斎).
631:
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Many traditional crafts and industrial arts produced throughout
Japanese history were initially influenced by China, and afterward experienced various native stylistic influences and innovations over the centuries.
509:, made annotations for A Record of Decoration with Lacquer, ... People of the Ming Dynasty once recorded: “The decoration art with lacquer coated with gold originated (maki-e) from Japan". Yang in the reign of
1182:
wares are made using a variety of colors, and the inclusion of eggshells, rice chaff, or other materials in the base coats. Silver or gold foil is used as well, and sealed under a layer of transparent lacquer.
777:
Edo, and whose family produced and exhibited lacquerware in the new style. This style became popular in the Meiji period because it could be produced more quickly and cheaply than traditional lacquers.
1124:. One Aizu technique is that of etching designs or images into the surface of the lacquer, and then filling in the space with gold or other materials. Other techniques distinctive of Aizu involve the
2480:
544:. Japanese lacquerware attracted European aristocrats and missionaries from Europe, and western style chests and church furniture were exported in response to their requests. In this period,
1156:. The red layers of lacquer on Negoro wares are intended to gradually wear away with use, revealing the black lacquer underneath. This effect has since been copied and emulated elsewhere.
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of China was imported to Japan. However, many
Japanese lacquer craftsmen did not adopt the Chinese method of depositing lacquer and then carving it; instead, they created
853:
486:. Lacquer (particularly Japanese) was known at Indian courts and featured among the gifts offered by Europeans to local rulers. Japanese lacquer was well known to Sir
1268:
1162:, though frequently included among types of Japanese lacquer, actually developed largely independently, with strong influences from China and Southeast Asia, as the
1060:, producing a printing plate from dry lacquer, that was carved and finally used like a block print but instead of traditional printing colors with pigmented lacquer.
1050:(1368–1392). This method became popular in the 17th century in Takayama, Hida province. Many articles for use in tea-drinking were manufactured using this technique.
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796:
1198:. Wajima-nuri is famous for is its durable undercoating that is achieved by the application of multiple layers of urushi mixed with powdered diatomaceous earth (
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After the Meiji era, a new generation of artists further changed the decorative language, depicting plants in a stylised way without naturalistic settings.
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style. The red lacquer wears away gradually and irregularly with use, producing the effect of natural aging for which these pieces are highly appreciated.
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1234:
Today, Japanese lacquerware is sought by collectors and museums around the world. Modern collections of
Japanese lacquerware outside Japan include the
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middle-coat, and final coat) are used, the final coat sometimes being clear rather than black lacquer, in order to allow decorations to show through.
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sizes and shapes on top to polish them was developed in Japan. This made it possible to make the gold and silver of lacquerware brighter than before.
911:
681:
1520:
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The government has registered a number of ancient items as National Treasures. Many of them are Buddhist items, dating from the Heian period. See
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As with most traditional arts, variations emerged over time as individual centers of production developed their own unique techniques and styles.
1560:
1378:
1508:
1557:
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saw a renewed interest in lacquer as artists developed new designs and experimented with new textures and finishes. Foremost among these was
1022:
786:. The government took an active interest in the art export market, promoting Japan's lacquers and other decorative arts at a succession of
2488:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Japanese lacquerware
1435:
873:
as well the government's effort to encourage the development of new Urushi workshop, the art is gradually establishing itself once again.
1541:
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1721:
Furniture from British India and Ceylon: a catalogue of the collections in the Victoria and Albert Museum and the Peabody Essex Museum
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790:. Lacquer from Japanese workshops was recognised as technically superior to what could be produced anywhere else in the world.
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of the Ming dynasty made a trip to Japan to study Japanese techniques, and a Japanese visited a Chinese imperial workshop in
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1799:
1764:
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1937:
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at the end of the 17th century; multiple layers of different colored lacquers are used to create a colorful mottled effect.
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253:
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1076:(蒔絵) using metal powders, including gold, silver, copper and their alloys, spread with bamboo tubes or fine brushes. In
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2124:
2006:
1986:
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involves covering the original maki-e in several layers of lacquer, then polishing down until the design is visible.
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1965:
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rulers generally described Japanese lacquerwares as "foreign lacquer" (yangqi). Yang Ming, and famous lacquer man
17:
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2208:
929:. This is due to the Japanese government's policy of local revitalization. Kanazawa, which flourished under the
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Early nineteenth-century economic hardship decreased the demand for gold- or silver-decorated lacquerwares. The
2520:
1025:
in the early 17th century, the process involves the application of layers of lacquer to paper shaped in a mold.
474:
techniques using grinding stones and clay powders. Japanese lacquerware was abundantly exported to neighboring
367:
137:
The characteristic of Japanese lacquerware is the diversity of lacquerware using a decoration technique called
2594:
1283:
exhibition after 1947, and he served as a lacquer-restoration master for the Imperial Household collections.
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2599:
2570:"URUSHI LACQUER + DESIGN. EAST MEETS WEST" exhibition in The International Design Museum Munich, Germany.
1718:
Victoria and Albert Museum; Jaffer, Amin; Corrigan, Karina; Jones, Robin D; Peabody Essex Museum (2001).
121:
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technique, was almost lost in the westernization of Japanese lifestyle. However, in 1985 Tatsuo Kitamura
1256:
907:
529:
262:
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1385:
2513:
Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection
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304:
234:
52:
525:, and this was reflected in many of the works produced in the Imperial workshops during his reign.
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It has been confirmed that the lacquer tree existed in Japan from 12,600 years ago in the incipient
2162:"[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period"
622:
241:
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2429:
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are known collectors of Japanese lacquerware and their collections are now often exhibited in the
1754:
1860:"Imports and Imitations: The Taste for Japanese Lacquer in Eighteenth-Century China and France"
1064:
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266:
1080:, the powders are sprinkled onto wet lacquer, to be then covered by another layer of lacquer.
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The best lacquer technique from the end of the Edo period to the Meiji period, especially the
245:
Tebako (Cosmetic box) Design of wheels-in-stream in maki-e lacquer and mother-of-pearl inlay,
2244:
740:
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600:
342:
308:
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2454:"Okada Akito | Document Box (Ryōshibako) with Dayflowers | Japan | Shōwa period (1926–89)"
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effect by repeated layers, sometimes including the addition of charcoal, sawdust or clay.
642:
558:
494:, and he notes in 1616 that rarities from China and Japan were highly desirable in India.
8:
2494:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF)
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1224:
1195:
1047:
926:
347:
1826:
Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700-1900)
2492:
Japanese Lacquer, 1600-1900 : selections from the Charles A. Greenfield collection
1895:
1259:
in London has a collection of mainly export lacquerware totalling around 2,500 pieces.
893:
483:
37:
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1789:
1360:
1227:
in Nagoya City, Japan has a lacquer collection including the Edo period maki-e bridal
1142:(gold and lead decoration, respectively), and for the use of white or whitish lacquer.
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2002:
1982:
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1068:(螺鈿) using inlays of shell and ivory to decorate pieces that usually have a wood base
990:
802:
Box for Incense Set with Design of Plum and Bamboo, Edo or Meiji period, 19th century
638:
518:
174:
1131:
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wares developed in the late 16th century, and saw a peak in their production in the
1871:
1791:
The Victoria and Albert Museum: a bibliography and exhibition chronology, 1852-1996
1191:
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453:
358:
some scholars have argued instead that the paintings employ the technique known as
334:
258:
226:
159:
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Lacquering technology may have been invented by the Jōmon. They learned to refine
152:
in which metal powder is sprinkled to attach to lacquer. The invention of various
2405:"Japanese Lacquer, 1600–1900: Selections from the Charles A. Greeneld Collection"
1945:
1169:
787:
422:
323:
221:
208:" which means lacquer in Mexican Spanish, are derived from Japanese lacquerware.
1455:. Hokkaido Prefectural Government, Hokkaido Tourism Organization. Archived from
300:
1913:
1239:
1163:
1153:
1032:
759:
729:
537:
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107:
1891:
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1384:. Netherlands: National Museum of Ethnology Museum Volkenkunde. Archived from
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48:
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1883:
1844:
1809:
1717:
1634:
1248:
1179:
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658:
592:
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285:
43:
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363:
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289:
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125:
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1614:
1719:
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1085:
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733:
437:, a method of carving wood and then coating lacquer. During this period,
178:
162:
expanded artistic expression, and various tools and works of art such as
1756:
Thirty Great Inventions of China From Millet Agriculture to Artemisinin
1439:
1306:: a term for a later European imitation of this technique, using plant
1228:
979:
930:
906:
and succeeded in recreating it. His lacquer works are collected in the
723:
554:
487:
79:
2498:
Urushi: Proceedings of the Urushi Study Group, June 10–27, 1985, Tokyo
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was the most common technique for quality lacquerware in this period.
1824:
1303:
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Alongside the red and black lacquers, it is common to see the use of
953:
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31:
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2481:
Facing Modern Times - The Revival of Japanese Lacquer Art 1890-1950
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in the Edo period, is a city with a thriving traditional industry.
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One of the masterpieces of ancient Japanese lacquer objects is the
327:
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A Japanese lacquerware produced and exported at the request of the
201:
116:
2486:
Bridge of dreams: the Mary Griggs Burke collection of Japanese art
1238:
which includes works by Shitaba Zeshin and other notable artists.
575:
became popular as men's accessories, and wealthy merchants of the
1311:
1018:
625:
in Alternating Fields. Early 17th century, Azuchi–Momoyama period
580:
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of painting into lacquerware. From the middle of the Edo period,
514:
338:
111:
2293:"History and Culture of Wajima-Nuri:Wajima Museum of Urushi Art"
921:, which collects works made by Living National Treasures, moved
747:
Writing-table, by Shirayama Shosai, Meiji period, 19th century,
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1787:
1511:, Mark Hudson, Asia-Pacific Magazine, No. 2 May 1996 pp. 47-48.
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or other materials. The application of gold powder is known as
764:
673:
596:
395:
139:
73:
2280:
1412:"Writ in Lacquer: A Genteel Courtship on a Mexican Sewing Box"
1379:"Mexican lacquers from Guerrero /La laca Mexicana de Guerrero"
1279:
Okada Akito (岡田章人作, 1910–1968) was exhibited regularly at the
1101:
1307:
974:
603:. During this period, due to the development of the economy,
337:
from middle of the seventh century AD. The shrine is made of
130:
2018:
2016:
2014:
1117:
994:
958:
914:, and are an object of collection for the world's wealthy.
832:
571:
322:(poison oak sap) – the process taking several months.
280:
185:(漆器) means "lacquer ware" in the most literal sense, while
165:
65:
2553:. Tokyo: Japan Publishing Industry Foundation for Culture.
2427:
941:
587:
of high aesthetic value, precisely designed with lacquer.
2250:
2247:
Transactions of the Asiatic Society of Japan - 1881, p.11
1616:
Arts of Mughal India: studies in honour of Robert Skelton
517:
during the Ming dynasty. It is well documented that the
490:, for example, as a suitable type of gift to the emperor
350:
wood, both native species. While commonly referred to as
2428:
Victoria and Albert Museum, Online Museum (2011-03-04).
2094:
2058:
2011:
2048:
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2044:
672:
Stationery Stand Morning sun, paulownia and phoenix in
2549:
The Book of Urushi: Japanese Lacquerware from a Master
2141:
2129:
1267:
Amongst those lacquer artists that have been named as
962:, Design of minute patterns in mother-of-pearl inlay,
838:
2515:. St. Petersburg, Fla.: Broughton International Inc.
1788:
Victoria and Albert Museum; James, Elizabeth (1998).
196:
The terms related to lacquer or lacquerware such as "
2262:
2178:
2070:
2041:
818:
in Maki-e Lacquer, Edo or Meiji period, 19th century
1213:
List of National Treasures of Japan (crafts-others)
993:, often seashells or similar materials, as well as
1190:(輪島塗) can be dated back to late 15th century from
1172:wares feature a technique supposedly developed by
412:, was developed and completed in this period. And
110:with a wide range of fine and decorative arts, as
2209:21st Century Museum of Contemporary Art, Kanazawa
1006:A few examples of traditional techniques follow:
912:21st Century Museum of Contemporary Art, Kanazawa
418:was developed in the latter half of this period.
2586:
2544:
2281:Jihei Murase – The Technique of Lacquer on Vimeo
1938:"Namban & Enconchado: Japan and Mexico Meet"
1509:Sannai Maruyama: A New View of Prehistoric Japan
1492:
1490:
1488:
1486:
1367:- Japanese Architecture and Art Net Users System
949:lacquer method, depicting needles of a pine tree
550:became very popular because of mass production.
1561:Kanagawa Prefectural Museum of Cultural History
1414:. Los Angeles: Los Angeles County Museum of Art
1409:
1166:did not come under Japanese control until 1609.
521:had a formidable interest in Japanese lacquer,
97:
1759:. Singapore: Springer Singapore Pte. Limited.
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163:
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2352:"A new collector's guide to Japanese lacquer"
2322:"Collection Highlights | Tokugawa Art Museum"
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1236:Nasser D. Khalili Collection of Japanese Art
1128:of various clays and primers in the process.
848:
30:For the European lacquerware technique, see
27:Japanese craft using lacquer to coat objects
2349:
1991:
1589:
1587:
1134:wares are generally known for their use of
1003:, and is a very common decorative element.
936:
2565:URUSHI - JAPANESE LACQUER IN MODERN DESIGN
2350:von Seibold, Anastasia (11 October 2018).
2106:
1914:"AN IMPERIAL GOLD-LACQUERED INCENSE STAND"
1445:
1336:
1334:
1332:
1202:) onto delicate zelkova wooden substrates.
1017:(張貫) is one common technique used to make
843:Lacquer, Edo or Meiji period, 19th century
468:techniques, was developed, as well as new
1971:
1864:Journal for Early Modern Cultural Studies
1857:
1613:Crill, Rosemary; Skelton, Robert (2004).
1565:
1530:
1426:
1231:that was designated a National Treasure.
814:Picnic Box with Design of the Scene from
609:, an advanced technique, became popular.
2234:Nikkan Kogyo Shimbun. September 21, 2017
1608:
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225:Detailed view of a lacquer panel of the
220:
124:, and on a wide variety of objects from
58:
36:
2159:
1752:
1453:"Kakinoshima Jomon Archaeological Site"
1403:
1329:
14:
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1558:Carved lacquer and Lacquered sculpture
637:Tiered Stand with Designs Alluding to
462:, the most complicated of the typical
2510:
2345:
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2256:
2220:超絶の伝統工芸技術の復元から 世界ブランド構築へのマーケティングヒストリー
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2100:
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2038:, Vol. 29, No. 2, March, 2008, p. 136
2022:
1682:
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1603:
1206:
782:this period of European and American
1753:Hua, Jueming; Feng, Lisheng (2021).
1686:CHRISTIAN CENTURY IN JAPAN 1549-1650
1651:CHRISTIAN CENTURY IN JAPAN 1549-1650
1370:
919:National Museum of Modern Art, Tokyo
837:Cabinet with Design of Waterfall in
2232:雲龍庵とは何者ぞ！細部に宿る漆工の美 超絶技巧の全貌 雲龍庵と希龍舎.
1822:
1497:Jomon crafts and what they were for
1410:Kathryn Santner (October 2, 2012).
1317:List of collections of Japanese art
917:In 2020, the Crafts Gallery of the
532:(1568–1600) also made its way into
216:
24:
2538:
2338:
1724:. London: V & A Publications.
1148:lacquerwares were produced at the
966:characterized by a combination of
749:Khalili Collection of Japanese Art
705:Saddle and Stirrups with Wisterias
621:Sake Ewer with Chrysanthemums and
25:
2611:
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1096:
307:of the lacquer tree found at the
249:, 12th century, National Treasure
1942:japan-and-mexico-meet.tumblr.com
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189:(塗物) means "coated things", and
2500:(fully available online as PDF)
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1966:Urushi once attracted the world
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2458:The Metropolitan Museum of Art
2245:The Lacquer Industry of Japan.
1502:
1471:
1354:
1310:to create a different type of
1218:
892:set up his own studio called "
193:(漆塗) means "lacquer coating."
173:A number of terms are used in
13:
1:
2474:
2222:Web Dentsu. September 5, 2016
2160:Liddell, C. B. (2013-12-14).
1683:BOXER, CHARLES RALPH (2020).
1648:BOXER, CHARLES RALPH (2020).
1499:heritageofjapan.wordpress.com
784:fascination with Japanese art
2034:Earle, Joe, "Zeshin Redux",
1858:Kleutghen, Kristina (2017).
7:
2297:www.city.wajima.ishikawa.jp
1597:
1578:
1545:
1524:
1478:Kakinoshima Excavation Site
1292:
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565:brought the designs of the
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445:
439:
414:
408:
402:
164:
154:
98:
72:
64:
10:
2616:
2504:
2326:www.tokugawa-art-museum.jp
2119:pp.60-61. Heibonsha, 2014
1285:
908:Victoria and Albert Museum
645:, Edo oeriod, 17th century
295:, Edo period, 18th century
211:
29:
2545:Matsuda, Gonroku (2019).
1269:Living National Treasures
900:
886:
849:Twentieth century onwards
606:shishiai-togidashi maki-e
459:shishiai-togidashi maki-e
305:radioactive carbon dating
146:
92:
41:Writing lacquer box with
2430:"Lacquer at the V&A"
2197:Unryuan Kitamura Tatsuo.
1594:Shishia-tokidashi maki-e
1322:
1046:during the reign of the
937:Techniques and processes
871:Living National Treasure
859:Living National Treasure
346:or Japanese cypress and
303:. This was confirmed by
2376:"The Eight Collections"
1436:1万2千年前のウルシ木片 世界最古、福井で出土
1036:excessive extravagance.
170:are highly decorative.
2199:Lesley Kehoe Galleries
2001:p.80. Heibonsha, 2014
1981:p.104. Me no Me, 2017
1823:Iby, Elfriede (2015).
1110:
982:
950:
862:
751:
737:
687:Lacquered exterior of
530:Azuchi-Momoyama period
324:Iron oxide (colcothar)
296:
269:
267:Kyushu National Museum
263:Azuchi–Momoyama period
250:
238:
83:
56:
1876:10.1353/jem.2017.0013
1794:. London: Routledge.
1344:p.24. Me no Me, 2017
1286:Further information:
1104:
1056:(漆絵版画), developed by
1013:(一閑張), also known as
956:
944:
861:Gonroku Matsuda, 1960
856:
743:
718:
449:was newly developed.
275:
256:
244:
224:
62:
40:
2595:Japanese lacquerware
2380:Nasser David Khalili
2259:, pp. 186, 378.
1689:. S.l.: ISHI PRESS.
1654:. S.l.: ISHI PRESS.
1619:. Ahmedabad: Mapin.
1391:on December 13, 2014
1253:Palace of Versailles
1160:Ryukyuan lacquerware
601:Palace of Versailles
393:(794–1185), various
309:Torihama shell mound
44:Irises at Yatsuhashi
2600:Japanese inventions
2511:Earle, Joe (1999).
2103:, pp. 96, 187.
2067:, pp. 187–188.
2025:, pp. 186–187.
1480:Hokkaido Government
1377:Ted J.J. Leyenaar.
1225:Tokugawa Art Museum
1196:Ishikawa Prefecture
1048:Emperor Go-Kameyama
927:Ishikawa Prefecture
657:Reading Stand with
362:, an early type of
1442:, November 6, 2011
1207:National Treasures
1152:temple complex in
1111:
983:
951:
863:
752:
738:
443:was completed and
297:
270:
251:
239:
84:
57:
2409:www.metmuseum.org
2356:www.christies.com
2150:, pp. 30–31.
2138:, pp. 93–94.
1977:Masayuki Murata.
1968:urushi-joboji.com
1918:www.christies.com
1836:978-3-205-20192-2
1829:. Böhlau Verlag.
1801:978-1-315-07424-5
1766:978-981-15-6525-0
1731:978-1-85177-318-3
1696:978-4-87187-109-9
1661:978-4-87187-109-9
1626:978-1-890206-71-0
1598:The Asahi Shimbun
1579:The Asahi Shimbun
1546:The Asahi Shimbun
1525:The Asahi Shimbun
1521:Togidashi maki-e.
1340:Masayuki Murata.
816:The Tale of Genji
639:The Tale of Genji
519:Yongzheng Emperor
235:National Treasure
114:has been used in
53:National Treasure
16:(Redirected from
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2115:Yūji Yamashita.
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2089:Shibayama zaiku.
2086:
2080:
2074:
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2039:
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2026:
2020:
2009:
1997:Yūji Yamashita.
1995:
1989:
1975:
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1963:
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1956:
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1934:
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881:
842:
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799:
775:
702:
684:
669:
654:
634:
623:Paulownia Crests
618:
608:
589:Marie Antoinette
583:class collected
549:
540:) and Europe by
473:
467:
461:
454:Muromachi period
448:
442:
417:
411:
405:
403:Togidashi maki-e
335:Tamamushi Shrine
265:, 16th century,
259:Society of Jesus
227:Tamamushi Shrine
217:Jōmon－Edo period
169:
160:Japanese history
157:
151:
149:
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134:boxes for food.
105:
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101:
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69:
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18:Japanese lacquer
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2539:Further reading
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2166:The Japan Times
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534:Colonial Mexico
497:In China, the
423:Kamakura period
233:, 7th century (
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1097:Regional forms
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2408:
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2384:the original
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2301:the original
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2036:Orientations
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1461:. Retrieved
1457:the original
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1393:. Retrieved
1386:the original
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364:oil painting
359:
356:Meiji period
354:, since the
351:
341:
332:
319:
317:
301:Jōmon period
298:
290:
284:bottle with
279:
276:
247:Heian period
231:Asuka period
205:
195:
190:
186:
182:
177:to refer to
172:
138:
136:
129:
115:
86:
85:
42:
2575:Urushi-nuri
1463:13 November
1361:Urushi-nuri
1219:Collections
1187:Wajima-nuri
1090:Togidashi-e
1086:high relief
1084:achieves a
563:Ogata Kōrin
547:hira maki-e
471:taka maki-e
446:taka maki-e
440:Hira maki-e
415:hira maki-e
374:) oil with
191:urushi-nuri
179:lacquerware
87:Lacquerware
49:Ogata Kōrin
2589:Categories
2522:1874780137
2475:References
2463:2023-06-24
2439:2020-05-01
2414:2020-05-01
2390:2020-05-01
2361:2020-05-01
2331:2020-05-01
2307:2018-04-23
2269:Earle 1999
2257:Earle 1999
2243:J J Quin,
2185:Earle 1999
2171:2020-03-19
2148:Earle 1999
2136:Earle 1999
2101:Earle 1999
2077:Earle 1999
2065:Earle 1999
2053:Earle 1999
2023:Earle 1999
1952:2021-01-19
1923:2021-01-19
1892:7308043513
1775:1227389246
1705:1152479970
1670:1152479970
1440:The Nikkei
1251:, and the
1126:burnishing
1082:Takamaki-e
1078:hiramaki-e
1029:iro-urushi
1023:Hiki Ikkan
980:Edo period
931:Maeda clan
579:class and
555:Edo period
488:Thomas Roe
80:Edo period
2091:Kotobank.
1900:165251830
1884:1531-0485
1845:934770556
1810:900484109
1635:249644703
1304:Japanning
1229:trousseau
1150:Negoro-ji
1140:mitsuda-e
1019:tea wares
1011:ikkanbari
773:Shibayama
756:Meiji era
726:Tagonoura
690:wakizashi
482:and even
476:East Asia
429:from the
380:desiccant
360:mitsuda-e
339:lacquered
229:from the
198:Japanning
78:lacquer,
32:Japanning
2531:42476594
1740:45580438
1418:June 10,
1395:June 10,
1299:Kintsugi
1293:See also
1263:Artisans
1200:ji-no-ko
1105:Ewer in
1015:harinuki
923:Kanazawa
910:and the
693:Fusamune
599:and the
507:Zhejiang
492:Jahangir
376:litharge
366:, using
328:cinnabar
313:Hokkaido
293:(emblem)
202:Urushiol
187:nurimono
175:Japanese
117:urushi-e
2505:Sources
2117:明治の細密工芸
1999:明治の細密工芸
1312:lacquer
1170:Tsugaru
947:chinkin
894:Unryuan
581:samurai
528:In the
515:Beijing
452:In the
421:In the
389:In the
368:perilla
348:camphor
212:History
204:" and "
112:lacquer
2579:JAANUS
2529:
2519:
2123:
2005:
1985:
1979:明治工芸入門
1898:
1890:
1882:
1843:
1833:
1808:
1798:
1773:
1763:
1738:
1728:
1703:
1693:
1668:
1658:
1633:
1623:
1365:JAANUS
1348:
1342:明治工芸入門
1308:resins
1281:Nitten
1255:. The
1247:, the
1245:Louvre
1192:Wajima
1180:Wakasa
1146:Negoro
1136:maki-e
1132:Jōhana
1107:negoro
1073:maki-e
1000:maki-e
964:Somada
840:Maki-e
779:Somada
765:Maki-e
745:Maki-e
736:, 1872
720:Maki-e
674:maki-e
597:Louvre
577:chōnin
523:yangqi
511:Xuande
465:maki-e
409:maki-e
396:maki-e
352:urushi
343:hinoki
320:urushi
277:Maki-e
183:Shikki
155:maki-e
140:maki-e
122:prints
99:shikki
74:maki-e
1896:S2CID
1389:(PDF)
1382:(PDF)
1323:Notes
1065:raden
1044:Sakai
991:inlay
975:makie
969:raden
728:, by
641:, by
484:India
378:as a
372:shiso
206:maque
131:bento
106:is a
47:, by
2527:OCLC
2517:ISBN
2121:ISBN
2003:ISBN
1983:ISBN
1888:OCLC
1880:ISSN
1841:OCLC
1831:ISBN
1806:OCLC
1796:ISBN
1771:OCLC
1761:ISBN
1736:OCLC
1726:ISBN
1701:OCLC
1691:ISBN
1666:OCLC
1656:ISBN
1631:OCLC
1621:ISBN
1465:2022
1420:2015
1397:2015
1346:ISBN
1223:The
1138:and
1118:Aizu
995:mica
972:and
959:Inro
887:北村辰夫
879:inro
833:Inro
724:Fuji
591:and
585:inro
572:Inro
561:and
553:The
503:Qing
501:and
499:Ming
326:and
281:sake
200:", "
166:inro
66:Inro
2577:at
1872:doi
1363:at
901:雲龍庵
857:By
291:mon
288:'s
128:to
70:in
2591::
2525:.
2456:.
2432:.
2407:.
2378:.
2354:.
2340:^
2324:.
2295:.
2164:.
2108:^
2043:^
2013:^
1940:.
1916:.
1894:.
1886:.
1878:.
1868:17
1866:.
1862:.
1839:.
1804:.
1769:.
1734:.
1699:.
1664:.
1629:.
1605:^
1586:^
1567:^
1532:^
1485:^
1438:,
1428:^
1331:^
1215:.
1194:,
925:,
732:,
478:,
382:.
261:.
181:.
147:蒔絵
120:,
96:,
93:漆器
2581:.
2533:.
2466:.
2442:.
2417:.
2393:.
2364:.
2334:.
2310:.
2174:.
1955:.
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1874::
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896:"
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