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in that it is polished with abrasives of different particle sizes, and lacquer is rubbed and dried, but the procedure of each process is different. Since the entire surface including the pattern is coated with lacquer and then polished, the surface of the pattern and the background becomes smooth and
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process. The lacquer is slightly polished to expose only the surface of the metal powder with the metal powder embedded in the lacquer. In the subsequent polishing process, the entire lacquerware is polished with abrasives of different particle sizes. In addition, in the middle of each polishing
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artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminum, platinum, and pewter, as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines. As it requires highly skilled craftsmanship to produce a
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processes are started after the normal lacquerware process is finished. In other words, it is necessary to make a thick foundation layer of lacquer in advance by repeating a series of works such as coating the wood or paper with lacquer using a spatula or brush, drying it and polishing it.
692:
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The upper tier holds inkstone and water dropper; lower tier is for paper; eight bridges design after chapter 9 of The Tales of Ise; irises and plank bridges 1700, Black lacquered wood, gold, maki-e, abalone shells, silver and corroded lead strips
347:
metal powder is sprinkled using a bird's feather shaft or a bamboo tube. In the next process, lacquer is applied on top of metal powder to protect the metal powder, and then the lacquer is dried. The first polishing is performed in the next
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in which the entire lacquerware including pictures and patterns is coated with black lacquer. After drying, it is polished until the surface of the metal powder is exposed. After that, it is the same as
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A lacquer is mixed with charcoal or mineral particles to make a lacquer with increased viscosity, and a pattern is drawn on the surface to raise the pattern. Then it is dried and the same process as
341:, is the preparation process before metal powder is sprinkled. Lacquer is applied to the place where metal powder is to be sprinkled and it is used as an adhesive. Then, in a process called
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is done on top of the pattern to complete. The name of the technique is different depending on the kind of particles to be mixed, and the one mixed with charcoal powder is called
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with a thin brush, and is pressed to the surface of the lacquerware to transfer. If the picture or pattern is simple, this process may be omitted. The next step, called
1012:
461:
until the late Heian period when the refining technique of gold and silver powder was undeveloped and the particles were rough. Because a sword scabbard in the
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on the surface of lacquerware, and then metal powder such as gold or silver is sprinkled and fixed on the surface of the lacquerware. The origin of the term
980:
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are easy to work with, but the adhesion of the particles is weak, and the color becomes whitish with little gloss and looks dull. Large particles
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are difficult to work with but have high durability, and have a strong luster and a flashy appearance due to irregular reflection of particles.
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with the
Characters for Longevity and Good Fortune and the "Seven Lucky Treasures" on Checkerboard Ground, Edo period, 18th century,
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was developed by mixing lacquer with powdered whetstone or powdered clay, and it became possible to raise the pattern higher.。
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meaning "picture" or "design". The term can also be used to refer to lacquerware made with this decorative technique. The term
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derives from the
Japanese word. It is used for "Mexican lacquerware". Japanese lacquerware arrived to Mexico through the
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is inserted, in which a series of processes of rubbing lacquer onto lacquerware and drying it are repeated. Glossy
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painting, young artists usually go through many years of training to develop the skills and to ultimately become
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is overlapped and copied along the outline from above, and then lacquer is applied to the outline drawn on the
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455:. It was a technique developed and completed in the Heian period, and this technique was the mainstream of
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where they apply lacquer to protect the metal powder. However, the subsequent processes are different, and
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because it was necessary to make the particles of metal powder finer. This technique was popular in the
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After raising the pattern in the process of taka mak-ie, it is completed through the process of
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is completed through these complicated processes. Although this technique is the simplest in
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in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved.
207:, were originators of the two major schools of lacquer-making in the history of Japan.
905:
880:. Mexican artisans fused pre-Hispanic, European and Asian influences in their work.
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works used designs from various
Japanese contemporary painters. Kōami and another
587:, the surface does not become smooth even after polishing because the process of
380:
132:
1058:. Netherlands: National Museum of Ethnology Museum Volkenkunde. Archived from
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829:
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This technique is the most used technique in
Japanese lacquer decoration. The
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The particles of the metal powder are roughly classified into three types of
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decoration technique in which pictures, patterns, and letters are drawn with
539:. This technique was developed in the middle of the Kamakura period. In the
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189:(1410–1478) was the first lacquer master linked to specific works. His
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is performed. After the original picture is drawn on the paper, thin
40:
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as a process classification. In Japan, these three techniques and
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Writing-table, by
Shirayama Shosai, Meiji period, 19th century,
373:, it was developed in the latter half of the Heian period after
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1086:"Writ in Lacquer: A Genteel Courtship on a Mexican Sewing Box"
1053:"Mexican lacquers from Guerrero /La laca Mexicana de Guerrero"
482:
similar to this technique, it is sometimes said that
Japanese
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is completed. It is the most complicated technique among
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At the first stage, a preliminary sketch process called
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Japanese lacquer sprinkled with gold or silver powder
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in which metal or ivory is embedded in lacquer, and
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607:Classification by size and shape of metal powder
112:is often combined with other techniques such as
1088:. Los Angeles: Los Angeles County Museum of Art
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225:is roughly classified into three techniques of
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669:in order of decreasing size. Fine particles
164:To create different colours and textures,
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449:metal powder is harder to fall off than
68:literally: sprinkled picture (or design)
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969:Maki-e (Togidashi maki-e) work process.
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216:Classification by manufacturing process
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526:and the one mixed with tin powder is
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1084:Kathryn Santner (October 2, 2012).
757:shell inlays. Tokyo National Museum
13:
941:Maki-e (Hira maki-e) work process.
853:Khalili Collection of Japanese Art
741:writing Box with "Eight Bridges" (
211:Major techniques and their history
135:is embedded or pasted in lacquer,
14:
1180:
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707:paper box with "wheels in flow" (
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841:
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753:, 18th century. The flowers are
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1029:継ぎで使う蒔絵粉の種類とその特徴＆金粉屋さんでの購入方法.
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561:Shishiai togidashi maki-e
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266:shishiai togidashi maki-e
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89:meaning "sprinkling" and
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1159:Japanese art terminology
1013:Shishia-tokidashi maki-e
859:
469:uses a technique called
19:Not to be confused with
435:uses a process called
385:Azuchi-Momoyama period
99:first appeared in the
85:is a compound word of
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37:
749:, National Treasure,
721:Tokyo National Museum
515:sumikoage-taka maki-e
379:and completed in the
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1164:Japanese lacquerware
1126:at Wikimedia Commons
1065:on December 13, 2014
133:mollusk shell lining
1169:Painting techniques
1149:Artistic techniques
1105:Lacquerware stories
1051:Ted J.J. Leyenaar.
719:, 11–12th century,
545:sabiage-taka maki-e
528:suzuage-taka maki-e
1031:Kintsugi toshokan.
928:Yamakyu Japanware.
51:
38:
1122:Media related to
1017:The Asahi Shimbun
1001:The Asahi Shimbun
985:The Asahi Shimbun
981:Togidashi maki-e.
957:The Asahi Shimbun
906:The Asahi Shimbun
864:The Mexican word
713:National Treasure
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1090:. Retrieved
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1067:. Retrieved
1060:the original
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1024:
1008:
997:Taka maki-e.
992:
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953:Hira maki-e.
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834:Meiji period
825:
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777:bottle with
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876:during the
747:Ogata Kōrin
743:yatsuhashi
590:taka maki-e
510:hira maki-e
493:Taka maki-e
463:Nara period
452:hira maki-e
445:hira maki-e
420:hira maki-e
301:Hira maki-e
286:taka maki-e
253:taka maki-e
227:hira maki-e
186:Kōami Dōchō
127:in which a
49:enlargement
1143:Categories
1134:Britannica
1041:(bridges).
884:References
751:Edo period
711:) design,
658:hon maki-e
601:Edo period
358:suriurushi
581:. Unlike
426:fungatame
183:masters.
131:layer of
1092:June 10,
1069:June 10,
786:(emblem)
627:hiragime
465:kept at
438:nurikomi
201:master,
129:nacreous
1107:/maki-e
901:Maki-e.
836:, 1872.
755:abalone
734:Inlaid
698:Inlaid
685:Gallery
645:marufun
467:Shōsōin
351:funtogi
344:funmaki
150:chinkin
79:lacquer
1130:Maki-e
1124:Maki-e
849:Maki-e
823:Maki-e
770:Maki-e
736:maki-e
700:maki-e
596:maki-e
567:肉合研出蒔絵
485:maki-e
458:maki-e
390:maki-e
370:maki-e
364:maki-e
338:jigaki
292:maki-e
272:肉合研出蒔絵
222:Maki-e
198:maki-e
192:maki-e
180:maki-e
174:maki-e
167:maki-e
109:maki-e
96:maki-e
83:maki-e
55:Maki-e
46:Maki-e
34:Maki-e
1063:(PDF)
1056:(PDF)
868:maque
860:Maque
828:, by
739:raden
704:raden
551:錆上高蒔絵
534:錫上高蒔絵
521:炭粉上蒔絵
332:washi
325:washi
318:okime
137:zōgan
115:raden
73:is a
21:Emaki
1094:2015
1071:2015
803:Inro
774:sake
643:and
638:平極蒔絵
619:消粉蒔絵
477:末金鏤作
417:and
404:研出蒔絵
283:and
251:and
246:研出蒔絵
87:maki
1132:at
784:mon
781:'s
664:本蒔絵
656:or
630:or
603:.。
499:高蒔絵
307:平蒔絵
259:高蒔絵
233:平蒔絵
1145::
933:^
914:^
891:^
832:,
715:,
651:丸粉
624:,
543:,
238:,
156:沈金
143:象嵌
122:螺鈿
103:.
65:,
62:蒔絵
1096:.
1073:.
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59:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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