Maki-e explained

Maki-e should not be confused with Emaki.

is a Japanese lacquer decoration technique in which pictures, patterns, and letters are drawn with lacquer 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 maki-e is a compound word of maki meaning "sprinkling" and e meaning "picture" or "design". The term can also be used to refer to lacquerware made with this decorative technique. The term Japanese: maki-e first appeared in the Heian period.[1]

This technique is the most used technique in Japanese lacquer decoration. The Japanese: maki-e is often combined with other techniques such as in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, in which metal or ivory is embedded in lacquer, and in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved.[1]

To create different colours and textures, Japanese: maki-e 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 Japanese: maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately become Japanese: maki-e masters. Japanese: Kōami Dōchō|italic=no (1410–1478) was the first lacquer master linked to specific works. His Japanese: maki-e works used designs from various Japanese contemporary painters. Kōami and another Japanese: maki-e master, Japanese: Igarashi Shinsai|italic=no, were originators of the two major schools of lacquer-making in the history of Japan.

Major techniques and their history

Classification by manufacturing process

Japanese: Maki-e is roughly classified into three techniques of, and as a process classification. In Japan, these three techniques and, which is a combination of Japanese: togidashi maki-e and Japanese: taka maki-e, are widely used.[1] [2] These Japanese: maki-e 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.[3]

At the first stage, a preliminary sketch process called Japanese: okime is performed. After the original picture is drawn on the paper, thin Japanese: [[washi]] is overlapped and copied along the outline from above, and then lacquer is applied to the outline drawn on the Japanese: washi 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 Japanese: jigaki, 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 Japanese: funmaki 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 Japanese: funtogi 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 process, a process called Japanese: suriurushi is inserted, in which a series of processes of rubbing lacquer onto lacquerware and drying it are repeated. Glossy Japanese: maki-e is completed through these complicated processes.[3] Although this technique is the simplest in Japanese: maki-e, it was developed in the latter half of the Heian period after Japanese: togidashi maki-e and completed in the Kamakura period because it was necessary to make the particles of metal powder finer. This technique was popular in the Azuchi-Momoyama period, when mass production of Japanese: maki-e was necessary.[4] [2]
Japanese: Togidashi maki-e and Japanese: hira maki-e have the same process up to the Japanese: fungatame where they apply lacquer to protect the metal powder. However, the subsequent processes are different, and Japanese: togidashi maki-e uses a process called Japanese: nurikomi 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 Japanese: hira maki-e 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.[5] 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 metal powder is harder to fall off than Japanese: hira maki-e. It was a technique developed and completed in the Heian period, and this technique was the mainstream of Japanese: maki-e 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 Nara period kept at Shōsōin uses a technique called similar to this technique, it is sometimes said that Japanese Japanese: maki-e began during the Nara period.[6] [2] 。
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 Japanese: hira maki-e 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 and the one mixed with tin powder is . This technique was developed in the middle of the Kamakura period. In the Muromachi period, was developed by mixing lacquer with powdered whetstone or powdered clay, and it became possible to raise the pattern higher.[7] [2] 。
After raising the pattern in the process of taka mak-ie, it is completed through the process of Japanese: togidashi maki-e. Unlike Japanese: togidashi maki-e, the surface does not become smooth even after polishing because the process of Japanese: taka maki-e is completed. It is the most complicated technique among Japanese: maki-e, and was developed in the Muromachi period and was popular in the Edo period.[8] 。

Classification by size and shape of metal powder

The particles of the metal powder are roughly classified into three types of, Japanese: hiragime or and or in order of decreasing size. Fine particles Japanese: keshifun maki-e 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 Japanese: marufun maki-e are difficult to work with but have high durability, and have a strong luster and a flashy appearance due to irregular reflection of particles.[9]

Maque

The Mexican word Spanish; Castilian: [[mexican lacquerware|maque]] derives from the Japanese word. It is used for "Mexican lacquerware". Japanese lacquerware arrived to Mexico through the Manila galleons during the Namban period. Mexican artisans fused pre-Hispanic, European and Asian influences in their work.[10] [11]

References

  1. https://web.archive.org/web/20201124073253/https://kotobank.jp/word/%E8%92%94%E7%B5%B5-135695 Maki-e.
  2. https://web.archive.org/web/20160409001218/https://www.yamakyu-urushi.co.jp/shikki/61_64/ Maki-e technique Vol.61~64.
  3. https://web.archive.org/web/20161029210644/http://sangyo.city.ise.mie.jp/html/dentou/shitsugei_2.html Maki-e (Hira maki-e) work process.
  4. https://web.archive.org/web/20201126092043/https://kotobank.jp/word/%E5%B9%B3%E8%92%94%E7%B5%B5-121621 Hira maki-e.
  5. https://web.archive.org/web/20161029201157/http://sangyo.city.ise.mie.jp/html/dentou/shitsugei_1.html Maki-e (Togidashi maki-e) work process.
  6. https://web.archive.org/web/20201124073753/https://kotobank.jp/word/%E7%A0%94%E5%87%BA%E8%92%94%E7%B5%B5-104600 Togidashi maki-e.
  7. https://megalodon.jp/2020-1124-1644-54/https://kotobank.jp:443/word/%E9%AB%98%E8%92%94%E7%B5%B5-92744 Taka maki-e.
  8. https://web.archive.org/web/20201124074632/https://kotobank.jp/word/%E8%82%89%E5%90%88%E7%A0%94%E5%87%BA%E8%92%94%E7%B5%B5-73186 Shishia-tokidashi maki-e
  9. https://web.archive.org/web/20201024001110/https://hatoya-f.com/real-kintsugi/makie-powder01/ 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.
  10. Web site: Ted J.J. Leyenaar . Mexican lacquers from Guerrero /La laca Mexicana de Guerrero . National Museum of Ethnology Museum Volkenkunde . Netherlands . June 10, 2015 . dead. https://web.archive.org/web/20141213084655/http://volkenkunde.nl/sites/default/files/attachements/lacquers.pdf . December 13, 2014 .
  11. Web site: Kathryn Santner . Writ in Lacquer: A Genteel Courtship on a Mexican Sewing Box . Los Angeles County Museum of Art . Los Angeles . October 2, 2012. June 10, 2015.

External links

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