Inro & Other Min. forms. Melvin Jahss

filling.

      9) Koetsu makie, Korin makie, etc. Lacquer ware named after individual artists who introduced and popularized a specific lacquer technique.

      10) maki-hanashi. A Momoyama-period technique in which the gold dustings were left as they were instead of being covered with lacquer and then polished.

      Color Techniques

      The various colors and pigments used in lacquer ware have already been noted. The pigments may be used either in coloring the lacquer or as pulverized powders; sometimes they are mixed with metallic powders for shading. When used for the production of colored lacquer, the pigments are mixed with suki-urushi, the finest crude transparent lacquer. Actually, pure colors are not seen because of the inherent amber hue of the lacquer itself. However, bright, pure colors are not approved of by the Japanese artisan, who prefers more toned-down, delicate, subtle shades. In general, the Chinese used a wider range of colors in their lacquer work, including white, turquoise, yellow, and different shades of green and red. The problem of vegetable colors being destroyed by the lacquer has already been noted. Vivid colors, such as sky blue and crimson, were not produced until the beginning of the 20th century.