49:
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243:
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231:
319:(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".
730:
689:
262:
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27:
211:
786:
751:, 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.
943:
1091:
931:
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1020:(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.
604:
974:
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,
770:
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
765:
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
304:. 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.
388:
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
1024:
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
813:
1264:
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).
546:(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.
48:
1031:(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
1231:
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
300:, 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
857:
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
1260:
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).
620:
374:
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.
498:, 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
1171:
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.
766:
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.
1113:. 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
2469:
533:. 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,
1145:. 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.
2150:
1485:
655:
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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
842:
475:. 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
1257:
1151:, though frequently included among types of Japanese lacquer, actually developed largely independently, with strong influences from China and Southeast Asia, as the
1049:, 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.
1039:(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.
1582:
785:
1187:. 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 (
1441:
2393:
854:
After the Meiji era, a new generation of artists further changed the decorative language, depicting plants in a stylised way without naturalistic settings.
1098:
style. The red lacquer wears away gradually and irregularly with use, producing the effect of natural aging for which these pieces are highly appreciated.
1201:
1223:
Today, Japanese lacquerware is sought by collectors and museums around the world. Modern collections of
Japanese lacquerware outside Japan include the
1466:
1162:
975:
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.
389:
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.
900:
670:
1509:
1200:
The government has registered a number of ancient items as National Treasures. Many of them are Buddhist items, dating from the Heian period. See
1102:
As with most traditional arts, variations emerged over time as individual centers of production developed their own unique techniques and styles.
1549:
1367:
1497:
1546:
747:
saw a renewed interest in lacquer as artists developed new designs and experimented with new textures and finishes. Foremost among these was
1011:
775:. The government took an active interest in the art export market, promoting Japan's lacquers and other decorative arts at a succession of
2477:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Japanese lacquerware
1424:
862:
as well the government's effort to encourage the development of new Urushi workshop, the art is gradually establishing itself once again.
1530:
1563:
1710:
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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2535:
2364:
1400:
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688:
779:. Lacquer from Japanese workshops was recognised as technically superior to what could be produced anywhere else in the world.
502:
of the Ming dynasty made a trip to Japan to study Japanese techniques, and a Japanese visited a Chinese imperial workshop in
1823:
1788:
1753:
1718:
1683:
1648:
1613:
1926:
640:
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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.
907:
242:
1305:
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2220:
1065:(蒔絵) using metal powders, including gold, silver, copper and their alloys, spread with bamboo tubes or fine brushes. In
2185:
2113:
1995:
1975:
1338:
1224:
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1081:
involves covering the original maki-e in several layers of lacquer, then polishing down until the design is visible.
2340:
1954:
859:
847:
494:
rulers generally described Japanese lacquerwares as "foreign lacquer" (yangqi). Yang Ming, and famous lacquer man
2208:
1445:
2486:
2197:
918:. This is due to the Japanese government's policy of local revitalization. Kanazawa, which flourished under the
743:
Early nineteenth-century economic hardship decreased the demand for gold- or silver-decorated lacquerwares. The
2509:
1014:
in the early 17th century, the process involves the application of layers of lacquer to paper shaped in a mold.
463:
techniques using grinding stones and clay powders. Japanese lacquerware was abundantly exported to neighboring
356:
126:
The characteristic of Japanese lacquerware is the diversity of lacquerware using a decoration technique called
2583:
1272:
exhibition after 1947, and he served as a lacquer-restoration master for the Imperial Household collections.
2480:
2588:
2559:"URUSHI LACQUER + DESIGN. EAST MEETS WEST" exhibition in The International Design Museum Munich, Germany.
1707:
Victoria and Albert Museum; Jaffer, Amin; Corrigan, Karina; Jones, Robin D; Peabody Essex Museum (2001).
110:
871:
technique, was almost lost in the westernization of Japanese lifestyle. However, in 1985 Tatsuo Kitamura
1245:
896:
518:
251:
2077:
1374:
2502:
Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection
2310:
293:
223:
41:
514:, and this was reflected in many of the works produced in the Imperial workshops during his reign.
288:
It has been confirmed that the lacquer tree existed in Japan from 12,600 years ago in the incipient
2151:"[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period"
611:
230:
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2418:
584:
are known collectors of Japanese lacquerware and their collections are now often exhibited in the
1743:
1849:"Imports and Imitations: The Taste for Japanese Lacquer in Eighteenth-Century China and France"
1053:
957:
255:
1069:, the powders are sprinkled onto wet lacquer, to be then covered by another layer of lacquer.
865:
The best lacquer technique from the end of the Edo period to the Meiji period, especially the
234:
Tebako (Cosmetic box) Design of wheels-in-stream in maki-e lacquer and mother-of-pearl inlay,
2233:
729:
2289:
1241:
1148:
1114:
589:
331:
297:
261:
2443:"Okada Akito | Document Box (Ryōshibako) with Dayflowers | Japan | Shōwa period (1926–89)"
2372:
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effect by repeated layers, sometimes including the addition of charcoal, sawdust or clay.
631:
547:
483:, and he notes in 1616 that rarities from China and Japan were highly desirable in India.
8:
2483:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF)
2442:
1213:
1184:
1036:
915:
336:
1815:
Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700-1900)
2481:
Japanese Lacquer, 1600-1900 : selections from the Charles A. Greenfield collection
1884:
1248:
in London has a collection of mainly export lacquerware totalling around 2,500 pieces.
882:
472:
26:
2563:
1778:
1349:
1216:
in Nagoya City, Japan has a lacquer collection including the Edo period maki-e bridal
1131:(gold and lead decoration, respectively), and for the use of white or whitish lacquer.
2515:
2505:
2109:
1991:
1971:
1888:
1876:
1868:
1829:
1819:
1794:
1784:
1759:
1749:
1724:
1714:
1689:
1679:
1654:
1644:
1619:
1609:
1334:
1057:(螺鈿) using inlays of shell and ivory to decorate pieces that usually have a wood base
979:
791:
Box for Incense Set with Design of Plum and Bamboo, Edo or Meiji period, 19th century
627:
507:
163:
1120:
1109:
wares developed in the late 16th century, and saw a peak in their production in the
1860:
1780:
The Victoria and Albert Museum: a bibliography and exhibition chronology, 1852-1996
1180:
577:
442:
347:
some scholars have argued instead that the paintings employ the technique known as
323:
247:
215:
148:
307:
Lacquering technology may have been invented by the Jōmon. They learned to refine
141:
in which metal powder is sprinkled to attach to lacquer. The invention of various
2394:"Japanese Lacquer, 1600–1900: Selections from the Charles A. Greeneld Collection"
1934:
1158:
776:
411:
312:
210:
197:" which means lacquer in Mexican Spanish, are derived from Japanese lacquerware.
1444:. Hokkaido Prefectural Government, Hokkaido Tourism Organization. Archived from
289:
1902:
1228:
1152:
1142:
1021:
748:
718:
526:
499:
468:
415:
96:
1880:
1763:
1693:
1658:
1373:. Netherlands: National Museum of Ethnology Museum Volkenkunde. Archived from
551:
37:
2577:
1872:
1833:
1798:
1706:
1623:
1237:
1168:
1046:
647:
581:
495:
274:
32:
2519:
1728:
1848:
1673:
1638:
1276:
1110:
1032:
555:
530:
491:
487:
423:
419:
379:
352:
344:
278:
235:
219:
114:
1864:
1603:
1708:
1175:
1074:
744:
722:
426:, a method of carving wood and then coating lacquer. During this period,
167:
151:
expanded artistic expression, and various tools and works of art such as
1745:
Thirty Great Inventions of China From Millet Agriculture to Artemisinin
1428:
1295:: a term for a later European imitation of this technique, using plant
1217:
968:
919:
895:
and succeeded in recreating it. His lacquer works are collected in the
712:
543:
476:
68:
2487:
Urushi: Proceedings of the Urushi Study Group, June 10–27, 1985, Tokyo
757:
was the most common technique for quality lacquerware in this period.
1813:
1292:
1138:
978:
Alongside the red and black lacquers, it is common to see the use of
942:
772:
678:
522:
464:
368:
186:
20:
565:
2470:
Facing Modern Times - The Revival of Japanese Lacquer Art 1890-1950
1287:
922:
in the Edo period, is a city with a thriving traditional industry.
911:
480:
364:
322:
One of the masterpieces of ancient Japanese lacquer objects is the
316:
301:
246:
A Japanese lacquerware produced and exported at the request of the
190:
105:
2475:
Bridge of dreams: the Mary Griggs Burke collection of Japanese art
1227:
which includes works by Shitaba Zeshin and other notable artists.
564:
became popular as men's accessories, and wealthy merchants of the
1300:
1007:
614:
in Alternating Fields. Early 17th century, Azuchi–Momoyama period
569:
558:
of painting into lacquerware. From the middle of the Edo period,
503:
327:
100:
2282:"History and Culture of Wajima-Nuri:Wajima Museum of Urushi Art"
910:, which collects works made by Living National Treasures, moved
736:
Writing-table, by Shirayama Shosai, Meiji period, 19th century,
2567:
1776:
1500:, Mark Hudson, Asia-Pacific Magazine, No. 2 May 1996 pp. 47-48.
1353:
1233:
1061:
988:
986:
or other materials. The application of gold powder is known as
753:
662:
585:
384:
128:
62:
2269:
1401:"Writ in Lacquer: A Genteel Courtship on a Mexican Sewing Box"
1368:"Mexican lacquers from Guerrero /La laca Mexicana de Guerrero"
1268:
Okada Akito (岡田章人作, 1910–1968) was exhibited regularly at the
1090:
1296:
963:
592:. During this period, due to the development of the economy,
326:
from middle of the seventh century AD. The shrine is made of
119:
2007:
2005:
2003:
1106:
983:
947:
903:, and are an object of collection for the world's wealthy.
821:
560:
311:(poison oak sap) – the process taking several months.
269:
174:(漆器) means "lacquer ware" in the most literal sense, while
154:
54:
2542:. Tokyo: Japan Publishing Industry Foundation for Culture.
2416:
930:
576:
of high aesthetic value, precisely designed with lacquer.
2239:
2236:
Transactions of the Asiatic Society of Japan - 1881, p.11
1605:
Arts of Mughal India: studies in honour of Robert Skelton
506:
during the Ming dynasty. It is well documented that the
479:, for example, as a suitable type of gift to the emperor
339:
wood, both native species. While commonly referred to as
2417:
Victoria and Albert Museum, Online Museum (2011-03-04).
2083:
2047:
2000:
2037:
2035:
2033:
661:
Stationery Stand Morning sun, paulownia and phoenix in
2538:
The Book of Urushi: Japanese Lacquerware from a Master
2130:
2118:
1256:
Amongst those lacquer artists that have been named as
951:, Design of minute patterns in mother-of-pearl inlay,
827:
2504:. St. Petersburg, Fla.: Broughton International Inc.
1777:
Victoria and Albert Museum; James, Elizabeth (1998).
185:
The terms related to lacquer or lacquerware such as "
2251:
2167:
2059:
2030:
807:
in Maki-e Lacquer, Edo or Meiji period, 19th century
1202:
List of National Treasures of Japan (crafts-others)
982:, often seashells or similar materials, as well as
1179:(輪島塗) can be dated back to late 15th century from
1161:wares feature a technique supposedly developed by
401:, was developed and completed in this period. And
99:with a wide range of fine and decorative arts, as
2198:21st Century Museum of Contemporary Art, Kanazawa
995:A few examples of traditional techniques follow:
901:21st Century Museum of Contemporary Art, Kanazawa
407:was developed in the latter half of this period.
2575:
2533:
2270:Jihei Murase – The Technique of Lacquer on Vimeo
1927:"Namban & Enconchado: Japan and Mexico Meet"
1498:Sannai Maruyama: A New View of Prehistoric Japan
1481:
1479:
1477:
1475:
1356:- Japanese Architecture and Art Net Users System
938:lacquer method, depicting needles of a pine tree
539:became very popular because of mass production.
1550:Kanagawa Prefectural Museum of Cultural History
1403:. Los Angeles: Los Angeles County Museum of Art
1398:
1155:did not come under Japanese control until 1609.
510:had a formidable interest in Japanese lacquer,
86:
1748:. Singapore: Springer Singapore Pte. Limited.
1585:
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888:
874:
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402:
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152:
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80:
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52:
2341:"A new collector's guide to Japanese lacquer"
2311:"Collection Highlights | Tokugawa Art Museum"
2100:
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1472:
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2202:
1601:
1559:
1557:
1526:
1524:
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1225:Nasser D. Khalili Collection of Japanese Art
1117:of various clays and primers in the process.
837:
19:For the European lacquerware technique, see
16:Japanese craft using lacquer to coat objects
2338:
1980:
1578:
1576:
1123:wares are generally known for their use of
992:, and is a very common decorative element.
925:
2554:URUSHI - JAPANESE LACQUER IN MODERN DESIGN
2339:von Seibold, Anastasia (11 October 2018).
2095:
1903:"AN IMPERIAL GOLD-LACQUERED INCENSE STAND"
1434:
1325:
1323:
1321:
1191:) onto delicate zelkova wooden substrates.
1006:(張貫) is one common technique used to make
832:Lacquer, Edo or Meiji period, 19th century
457:techniques, was developed, as well as new
1960:
1853:Journal for Early Modern Cultural Studies
1846:
1602:Crill, Rosemary; Skelton, Robert (2004).
1554:
1519:
1415:
1220:that was designated a National Treasure.
803:Picnic Box with Design of the Scene from
598:, an advanced technique, became popular.
2223:Nikkan Kogyo Shimbun. September 21, 2017
1597:
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941:
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214:Detailed view of a lacquer panel of the
209:
113:, and on a wide variety of objects from
47:
25:
2148:
1741:
1442:"Kakinoshima Jomon Archaeological Site"
1392:
1318:
2576:
1547:Carved lacquer and Lacquered sculpture
626:Tiered Stand with Designs Alluding to
451:, the most complicated of the typical
2499:
2334:
2332:
2330:
2257:
2245:
2209: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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2136:
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2027:, Vol. 29, No. 2, March, 2008, p. 136
2011:
1671:
1636:
1592:
1195:
771:this period of European and American
1742:Hua, Jueming; Feng, Lisheng (2021).
1675:CHRISTIAN CENTURY IN JAPAN 1549-1650
1640:CHRISTIAN CENTURY IN JAPAN 1549-1650
1359:
908:National Museum of Modern Art, Tokyo
826:Cabinet with Design of Waterfall in
2221: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.
1811:
1486:Jomon crafts and what they were for
1399:Kathryn Santner (October 2, 2012).
1306:List of collections of Japanese art
906:In 2020, the Crafts Gallery of the
521:(1568–1600) also made its way into
205:
13:
2527:
2327:
1713:. London: V & A Publications.
1137:lacquerwares were produced at the
955:characterized by a combination of
738:Khalili Collection of Japanese Art
694:Saddle and Stirrups with Wisterias
610:Sake Ewer with Chrysanthemums and
14:
2600:
2547:
1085:
296:of the lacquer tree found at the
238:, 12th century, National Treasure
1931:japan-and-mexico-meet.tumblr.com
812:
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178:(塗物) means "coated things", and
2489:(fully available online as PDF)
2435:
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2357:
2303:
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2226:
2214:
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2017:
1955:Urushi once attracted the world
1948:
1919:
1895:
1840:
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1630:
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1503:
2447:The Metropolitan Museum of Art
2234:The Lacquer Industry of Japan.
1491:
1460:
1343:
1299:to create a different type of
1207:
881:set up his own studio called "
182:(漆塗) means "lacquer coating."
162:A number of terms are used in
1:
2463:
2211:Web Dentsu. September 5, 2016
2149:Liddell, C. B. (2013-12-14).
1672:BOXER, CHARLES RALPH (2020).
1637:BOXER, CHARLES RALPH (2020).
1488:heritageofjapan.wordpress.com
773:fascination with Japanese art
2023:Earle, Joe, "Zeshin Redux",
1847:Kleutghen, Kristina (2017).
7:
2286:www.city.wajima.ishikawa.jp
1586:
1567:
1534:
1513:
1467:Kakinoshima Excavation Site
1281:
1251:
867:
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820:
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554:brought the designs of the
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403:
397:
391:
153:
143:
87:
61:
53:
10:
2605:
2493:
2315:www.tokugawa-art-museum.jp
2108:pp.60-61. Heibonsha, 2014
1274:
897:Victoria and Albert Museum
634:, Edo oeriod, 17th century
284:, Edo period, 18th century
200:
18:
2534:Matsuda, Gonroku (2019).
1258:Living National Treasures
889:
875:
838:Twentieth century onwards
595:shishiai-togidashi maki-e
448:shishiai-togidashi maki-e
294:radioactive carbon dating
135:
81:
30:Writing lacquer box with
2419:"Lacquer at the V&A"
2186:Unryuan Kitamura Tatsuo.
1583:Shishia-tokidashi maki-e
1311:
1035:during the reign of the
926:Techniques and processes
860:Living National Treasure
848:Living National Treasure
335:or Japanese cypress and
292:. This was confirmed by
2365:"The Eight Collections"
1425:1万2千年前のウルシ木片 世界最古、福井で出土
1025:excessive extravagance.
159:are highly decorative.
2188:Lesley Kehoe Galleries
1990:p.80. Heibonsha, 2014
1970:p.104. Me no Me, 2017
1812:Iby, Elfriede (2015).
1099:
971:
939:
851:
740:
726:
676:Lacquered exterior of
519:Azuchi-Momoyama period
313:Iron oxide (colcothar)
285:
258:
256:Kyushu National Museum
252:Azuchi–Momoyama period
239:
227:
72:
45:
1865:10.1353/jem.2017.0013
1783:. London: Routledge.
1333:p.24. Me no Me, 2017
1275:Further information:
1093:
1045:(漆絵版画), developed by
1002:(一閑張), also known as
945:
933:
850:Gonroku Matsuda, 1960
845:
732:
707:
438:was newly developed.
264:
245:
233:
213:
51:
29:
2584:Japanese lacquerware
2369:Nasser David Khalili
2248:, pp. 186, 378.
1678:. S.l.: ISHI PRESS.
1643:. S.l.: ISHI PRESS.
1608:. Ahmedabad: Mapin.
1380:on December 13, 2014
1242:Palace of Versailles
1149:Ryukyuan lacquerware
590:Palace of Versailles
382:(794–1185), various
298:Torihama shell mound
33:Irises at Yatsuhashi
2589:Japanese inventions
2500:Earle, Joe (1999).
2092:, pp. 96, 187.
2056:, pp. 187–188.
2014:, pp. 186–187.
1469:Hokkaido Government
1366:Ted J.J. Leyenaar.
1214:Tokugawa Art Museum
1185:Ishikawa Prefecture
1037:Emperor Go-Kameyama
916:Ishikawa Prefecture
646:Reading Stand with
351:, an early type of
1431:, November 6, 2011
1196:National Treasures
1141:temple complex in
1100:
972:
940:
852:
741:
727:
432:was completed and
286:
259:
240:
228:
73:
46:
2398:www.metmuseum.org
2345:www.christies.com
2139:, pp. 30–31.
2127:, pp. 93–94.
1966:Masayuki Murata.
1957:urushi-joboji.com
1907:www.christies.com
1825:978-3-205-20192-2
1818:. Böhlau Verlag.
1790:978-1-315-07424-5
1755:978-981-15-6525-0
1720:978-1-85177-318-3
1685:978-4-87187-109-9
1650:978-4-87187-109-9
1615:978-1-890206-71-0
1587:The Asahi Shimbun
1568:The Asahi Shimbun
1535:The Asahi Shimbun
1514:The Asahi Shimbun
1510:Togidashi maki-e.
1329:Masayuki Murata.
805:The Tale of Genji
628:The Tale of Genji
508:Yongzheng Emperor
224:National Treasure
103:has been used in
42:National Treasure
2596:
2543:
2523:
2457:
2456:
2454:
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2439:
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2430:
2429:
2414:
2408:
2407:
2405:
2404:
2390:
2384:
2383:
2381:
2380:
2371:. Archived from
2361:
2355:
2354:
2352:
2351:
2336:
2325:
2324:
2322:
2321:
2307:
2301:
2300:
2298:
2297:
2288:. Archived from
2278:
2272:
2267:
2261:
2255:
2249:
2243:
2237:
2230:
2224:
2218:
2212:
2206:
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2195:
2189:
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2177:
2171:
2165:
2164:
2162:
2161:
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2140:
2134:
2128:
2122:
2116:
2104:Yūji Yamashita.
2102:
2093:
2087:
2081:
2078:Shibayama zaiku.
2075:
2069:
2063:
2057:
2051:
2045:
2039:
2028:
2021:
2015:
2009:
1998:
1986:Yūji Yamashita.
1984:
1978:
1964:
1958:
1952:
1946:
1945:
1943:
1942:
1933:. Archived from
1923:
1917:
1916:
1914:
1913:
1899:
1893:
1892:
1844:
1838:
1837:
1809:
1803:
1802:
1774:
1768:
1767:
1739:
1733:
1732:
1704:
1698:
1697:
1669:
1663:
1662:
1634:
1628:
1627:
1599:
1590:
1589:
1580:
1571:
1570:
1561:
1552:
1544:
1538:
1537:
1528:
1517:
1516:
1507:
1501:
1495:
1489:
1483:
1470:
1464:
1458:
1457:
1455:
1453:
1438:
1432:
1422:
1413:
1412:
1410:
1408:
1396:
1390:
1389:
1387:
1385:
1379:
1372:
1363:
1357:
1347:
1341:
1327:
894:
892:
891:
880:
878:
877:
870:
831:
825:
816:
800:
788:
764:
691:
673:
658:
643:
623:
612:Paulownia Crests
607:
597:
578:Marie Antoinette
572:class collected
538:
529:) and Europe by
462:
456:
450:
443:Muromachi period
437:
431:
406:
400:
394:
392:Togidashi maki-e
324:Tamamushi Shrine
254:, 16th century,
248:Society of Jesus
216:Tamamushi Shrine
206:Jōmon－Edo period
158:
149:Japanese history
146:
140:
138:
137:
123:boxes for food.
94:
93:
90:
84:
83:
66:
58:
2604:
2603:
2599:
2598:
2597:
2595:
2594:
2593:
2574:
2573:
2550:
2530:
2528:Further reading
2512:
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2460:
2451:
2449:
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2425:
2415:
2411:
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2358:
2349:
2347:
2337:
2328:
2319:
2317:
2309:
2308:
2304:
2295:
2293:
2280:
2279:
2275:
2268:
2264:
2256:
2252:
2244:
2240:
2231:
2227:
2219:
2215:
2207:
2203:
2196:
2192:
2184:
2180:
2172:
2168:
2159:
2157:
2155:The Japan Times
2147:
2143:
2135:
2131:
2123:
2119:
2103:
2096:
2088:
2084:
2076:
2072:
2064:
2060:
2052:
2048:
2040:
2031:
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2018:
2010:
2001:
1985:
1981:
1965:
1961:
1953:
1949:
1940:
1938:
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1911:
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1900:
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1344:
1328:
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1284:
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1198:
1088:
934:Closeup of the
928:
886:
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840:
833:
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789:
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683:
674:
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659:
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527:Manila Galleons
523:Colonial Mexico
486:In China, the
412:Kamakura period
222:, 7th century (
208:
203:
132:
91:
78:
24:
17:
12:
11:
5:
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2548:External links
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2176:, p. 188.
2166:
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2117:
2114:978-4582922172
2094:
2082:
2070:
2068:, p. 185.
2058:
2046:
2044:, p. 187.
2029:
2016:
1999:
1996:978-4582922172
1979:
1976:978-4907211110
1959:
1947:
1918:
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1859:(2): 175–206.
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1448:on 7 July 2020
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1339:978-4907211110
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1229:Nasser Khalili
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1153:Ryukyu Islands
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1143:Izumi province
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1087:
1086:Regional forms
1084:
1083:
1082:
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1026:
1022:Shibata Zeshin
1015:
1010:. Invented by
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548:Hon'ami Kōetsu
469:Southeast Asia
416:carved lacquer
207:
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147:techniques in
115:Buddha statues
97:Japanese craft
71:, 18th century
40:, Edo period (
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1238:Guimet Museum
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2450:. Retrieved
2446:
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2422:
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2401:. Retrieved
2397:
2388:
2377:. Retrieved
2373:the original
2368:
2359:
2348:. Retrieved
2344:
2318:. Retrieved
2314:
2305:
2294:. Retrieved
2290:the original
2285:
2276:
2265:
2253:
2241:
2228:
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2204:
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2181:
2169:
2158:. Retrieved
2154:
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2073:
2061:
2049:
2025:Orientations
2024:
2019:
1987:
1982:
1967:
1962:
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1939:. Retrieved
1935:the original
1930:
1921:
1910:. Retrieved
1906:
1897:
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1842:
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1779:
1772:
1744:
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1709:
1702:
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1564:Taka maki-e.
1542:
1531:Hira maki-e.
1505:
1493:
1462:
1450:. Retrieved
1446:the original
1436:
1405:. Retrieved
1394:
1382:. Retrieved
1375:the original
1361:
1345:
1330:
1277:Maehata Gaho
1269:
1267:
1263:
1255:
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1211:
1199:
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1124:
1111:Meiji period
1101:
1095:
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1042:
1029:shunkei-nuri
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1017:
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987:
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967:techniques,
962:
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952:
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853:
804:
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759:
752:
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733:
723:Meiji period
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708:
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559:
556:Rinpa school
541:
531:Nanban trade
516:
511:
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440:
424:Kamakurabori
420:Song dynasty
409:
395:, a kind of
383:
380:Heian period
377:
373:
360:
353:oil painting
348:
345:Meiji period
343:, since the
340:
330:
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308:
306:
290:Jōmon period
287:
279:
273:bottle with
268:
265:
236:Heian period
220:Asuka period
194:
184:
179:
175:
171:
166:to refer to
161:
127:
125:
118:
104:
75:
74:
31:
2564:Urushi-nuri
1452:13 November
1350:Urushi-nuri
1208:Collections
1176:Wajima-nuri
1079:Togidashi-e
1075:high relief
1073:achieves a
552:Ogata Kōrin
536:hira maki-e
460:taka maki-e
435:taka maki-e
429:Hira maki-e
404:hira maki-e
363:) oil with
180:urushi-nuri
168:lacquerware
76:Lacquerware
38:Ogata Kōrin
2578:Categories
2511:1874780137
2464:References
2452:2023-06-24
2428:2020-05-01
2403:2020-05-01
2379:2020-05-01
2350:2020-05-01
2320:2020-05-01
2296:2018-04-23
2258:Earle 1999
2246:Earle 1999
2232:J J Quin,
2174:Earle 1999
2160:2020-03-19
2137:Earle 1999
2125:Earle 1999
2090:Earle 1999
2066:Earle 1999
2054:Earle 1999
2042:Earle 1999
2012:Earle 1999
1941:2021-01-19
1912:2021-01-19
1881:7308043513
1764:1227389246
1694:1152479970
1659:1152479970
1429:The Nikkei
1240:, and the
1115:burnishing
1071:Takamaki-e
1067:hiramaki-e
1018:iro-urushi
1012:Hiki Ikkan
969:Edo period
920:Maeda clan
568:class and
544:Edo period
477:Thomas Roe
69:Edo period
2080:Kotobank.
1889:165251830
1873:1531-0485
1834:934770556
1799:900484109
1624:249644703
1293:Japanning
1218:trousseau
1139:Negoro-ji
1129:mitsuda-e
1008:tea wares
1000:ikkanbari
762:Shibayama
745:Meiji era
715:Tagonoura
679:wakizashi
471:and even
465:East Asia
418:from the
369:desiccant
349:mitsuda-e
328:lacquered
218:from the
187:Japanning
67:lacquer,
21:Japanning
2520:42476594
1729:45580438
1407:June 10,
1384:June 10,
1288:Kintsugi
1282:See also
1252:Artisans
1189:ji-no-ko
1094:Ewer in
1004:harinuki
912:Kanazawa
899:and the
682:Fusamune
588:and the
496:Zhejiang
481:Jahangir
365:litharge
355:, using
317:cinnabar
302:Hokkaido
282:(emblem)
191:Urushiol
176:nurimono
164:Japanese
106:urushi-e
2494:Sources
2106:明治の細密工芸
1988:明治の細密工芸
1301:lacquer
1159:Tsugaru
936:chinkin
883:Unryuan
570:samurai
517:In the
504:Beijing
441:In the
410:In the
378:In the
357:perilla
337:camphor
201:History
193:" and "
101:lacquer
2568:JAANUS
2518:
2508:
2112:
1994:
1974:
1968:明治工芸入門
1887:
1879:
1871:
1832:
1822:
1797:
1787:
1762:
1752:
1727:
1717:
1692:
1682:
1657:
1647:
1622:
1612:
1354:JAANUS
1337:
1331:明治工芸入門
1297:resins
1270:Nitten
1244:. The
1236:, the
1234:Louvre
1181:Wajima
1169:Wakasa
1135:Negoro
1125:maki-e
1121:Jōhana
1096:negoro
1062:maki-e
989:maki-e
953:Somada
829:Maki-e
768:Somada
754:Maki-e
734:Maki-e
725:, 1872
709:Maki-e
663:maki-e
586:Louvre
566:chōnin
512:yangqi
500:Xuande
454:maki-e
398:maki-e
385:maki-e
341:urushi
332:hinoki
309:urushi
266:Maki-e
172:Shikki
144:maki-e
129:maki-e
111:prints
88:shikki
63:maki-e
1885:S2CID
1378:(PDF)
1371:(PDF)
1312:Notes
1054:raden
1033:Sakai
980:inlay
964:makie
958:raden
717:, by
630:, by
473:India
367:as a
361:shiso
195:maque
120:bento
95:is a
36:, by
2516:OCLC
2506:ISBN
2110:ISBN
1992:ISBN
1972:ISBN
1877:OCLC
1869:ISSN
1830:OCLC
1820:ISBN
1795:OCLC
1785:ISBN
1760:OCLC
1750:ISBN
1725:OCLC
1715:ISBN
1690:OCLC
1680:ISBN
1655:OCLC
1645:ISBN
1620:OCLC
1610:ISBN
1454:2022
1409:2015
1386:2015
1335:ISBN
1212:The
1127:and
1107:Aizu
984:mica
961:and
948:Inro
876:北村辰夫
868:inro
822:Inro
713:Fuji
580:and
574:inro
561:Inro
550:and
542:The
492:Qing
490:and
488:Ming
315:and
270:sake
189:", "
155:inro
55:Inro
2566:at
1861:doi
1352:at
890:雲龍庵
846:By
280:mon
277:'s
117:to
59:in
2580::
2514:.
2445:.
2421:.
2396:.
2367:.
2343:.
2329:^
2313:.
2284:.
2153:.
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2032:^
2002:^
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1857:17
1855:.
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1828:.
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1758:.
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1688:.
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1618:.
1594:^
1575:^
1556:^
1521:^
1474:^
1427:,
1417:^
1320:^
1204:.
1183:,
914:,
721:,
467:,
371:.
250:.
170:.
136:蒔絵
109:,
85:,
82:漆器
2570:.
2522:.
2455:.
2431:.
2406:.
2382:.
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23:.
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