In English: History of urushi lacquer and its influence in the West

In China, urushi lacquer is already known from the Neolithic period (about 7000 BC). In Japan, it was discovered urushi makes roughly the same amount of millennia, although in this country the Paleolithic Period'''' (by comparison with European and proximoriental prehistory) was still in force at the time (being called Jomon). That's why the urushi in Japan is not develop in the same way, at least in the beginning, than in China. 

Terracotta Warriors of Xian in China (210-209 BC.) 

Originally, the sculptures were covered with one or two 

urushi coating layers, with the aim of fixing the pigment. 

However, this technique did not survive the passage of centuries, 

since the resin was corrupted by contact with moisture 

subsoil. 

In the latter appeared in 210-209 BC, the Terracotta Warriors in Xian, where the lacquer and serves as the basis for the polychrome painting. In those years Japan had recently entered the Yayoi Period, which, not being developed enough evil separated the characteristic features of Jomon. However, the arrival of the Chinese to the archipelago if initiated by way of trade in the latter period, and will make Japan, after a few centuries of adaptation to Chinese civilization, also use for decoration of urushi objects related with worship or funeral rites. It is a step towards the refinement of this material, since it discovers that not only is convenient to take votes in order to strengthen them against external agents. 

Desktop design of pine, bamboo and cherry wood, decorated with 

makie technique. 

Edo Period. Japan nineteenth century. 

Thus was born, in the eighth century, the technique called maki-e. In her gold dust, silver or electro to decorate the lacquered surface is used. As in most of the decorative techniques where the first drawing on the still wet powder lacquer is applied is plotted, using the artist of a fine brush. Then you must take a tube that is blown to dust material. Finally the work is grinding metal, that the experts takes about two weeks. It aims to reduce the metal enough to ensure its beauty. However, if too little or is lowered, the quality and beauty of the piece will be modified. A variant called maki-e Nashiji. Consists of gold dust or silver flakes, so that a pattern shape of splash is generated. This technique is used for decorating the bottoms of the scenes represented, as seen on the orange desktop background. 

The technique of maki-e is a milestone that will be refined during the course of centuries, having its full swing in the Edo Period (1603-1868). The art of urushi will be sued by the privileged classes. 

Wooden dish coated with urushi lacquer and decorated with relief 

Yuan Dynasty (XIII-XIV centuries). China. 

On the other hand, in China, the heyday for lacquer art will be achieved mainly during the dynasties Yuan (XIII-XIV centuries) and Ming (XIV-XVII), where the milling process (chositsu) be regular in the artistic piece to give volume and chiaroscuro. 

Inro with design of Chinese sages in a mountain landscape. 

Wood, decorated with lacquered, Negoro and kamakura-bori. 

Japan, Edo Period. 

In fact, this technique will rub off to Japan, where you get a name: kamakura-bori. It is a technique of carving on wood, with a particular knife, reliefs of various volume which are then lacquered. The motifs embossed'' Chinese Salvias in a mountain landscape'' appear tinted in red (although the piece has been a powerful wear, so that color has deteriorated, subordinating the black). Another technique, apart from the above, is the chositsu. Here is what is carved lacquer applied once, not wood. This is a (common in the country but, as mentioned in the previous paragraph) sculptural technique of Chinese origin, discovered around the thirteenth century. There are also techniques that involve incisions or marks on the painted part to be filled either with colors (Kimma) or gold (Chinkin). 

Sagrario namban, wood, urushi lacquer decorated with maki-e, raden inlay and colored stones. Japan (1580-1630), as amended in the second half of the seventeenth century in Spain. 

The detail shows the famous myth of the lion and peony. It is an ancient story come from the Middle East. The lion is well regarded as the most powerful and noble beast in the world capable of beating every opponent except parasites. The peony is, then, the only plant that allows the lion heal them, for to rub her kills and repels. Hence the peony revere both because it is protective of the animal hero. 

But the beauty of urushi will have as core Far East with the arrival of the Spanish and Portuguese to Japan in the sixteenth century. The urushi lacquer as extraordinary fashion spread in both world powers. In fact, born and artistic style called namban: Eastern European art influenced by the Baroque style, the result of commercial relations between Spain and especially Japan over a period of about half a century. The namban art is the best that fuses the two cultures. The Spanish and Portuguese pieces commissioned Japanese artisans who usually had to do with the liturgy. They asked that in addition, the objects were highly decorated, as was the fashion European Baroque, as you quoted above. Thus was born in Japan specialized in satisfying external demand, where lower quality lacquer pieces were created market those to the Japanese, overly ornamented with techniques such as maki-e, raden (inlaid with mother of pearl), and various inlays. When the imported piece reached its destination, passing by another workshop where he added silver locks and finials, and sometimes inlaid with colored stones, motifs and other assemblies. The subjects depicted in art namban are not religious. Urushi In fact, plant stand ornaments. Animals also take place, such as birds and myth lion and peony. 

Although such art is extinguished by Japan's isolation policy (which was against the rise of Christianity in this country), the taste for these lakes would not be completed. In fact, in China, indigenous urushi lacquer followed exported to western countries. 

King Louis XVI console, belonging to the French Japonisme. 

He's worked in ebony and decorated with lacquer. 

By Adam Weisweiler attributed cabinetmaker. Year 1785-1790. 

In the seventeenth century, the Netherlands and Japan sign a partial treaty commercial. There recovered Dutch Japanese lacquers and reintroduced in Europe. Thus, in this continent will try to copy the urushi lacquer by the artistic movement known as Japonism (XVII - XIX). The urushi lacquer will have a powerful influence will begin to imitate, although materials such as resin sandáraca and poorer outcomes. Decorative objects as these reside in the Courts of powers such as France and England. It is, ultimately, finding a supposedly renovating distinct aesthetic to the traditional European art. 

Bats move. 

Your support is lacquering wood decorated with various colors. 

Michoachán (Mexico). XXI Century. 

The, originally from Mexico, made with fat aje insect and plant oil chia laque lacquer, all mixed in turn with white ground, also evidenced by the urushi taste in local works. Some of the pieces will be coated with a black background and floral motifs painted over (by ground or colored various shades). So fashion emulate the Japanese lacquer, but using a style more typical configuration of the nature of America and / or Europe. The urushi then'''' will touch virtually throughout the West. 

The inro, a small box to carry tiny objects, 

is considered one of craft 

most common Edo Period. It is an extension 

lacquerware use the popular classes. 

All change in Japanese art. 

As an aside the argument about the lacquer conducted so far in this post, the piece shown above, also reveals the beauty and precision that can be obtained by raden technique called urushi. Consists inlay inlaid nacre on urushi. This matter can be seen perfectly in symbolizing the hawk and crane. First, one must remove the raw material, ie, sheets of nacre, on which then a picture which will then be cut with the aid of a punch is carried out. The remaining portions of the sheet can be removed, if you are careful with your fingers, so that what remains is trimming the drawing. The pieces of mother of pearl are applied to the still liquid lacquer, and then are coated with lacquer something around with the aim of fixing scale well. If desired, the punch can be made smooth cuts on nacre, so detailed and embellished further inlay, as in this inro. Finally, the pearl is polished to obtain a fully iridescent raden, rid of any impurities. There are two similar techniques to raden. One of them is called heidatsu. It consists in embedding metals. The other is known as tsuikin. The material inlay lacquer pieces are. Besides those named, there are a number of inlays of various materials (sharkskin, glass, crystal, ivory, etc.). The latter are typical of the namban art. 

On the other hand, China decides to stop Japan rival in the art of lacquer, since it is a better producer of porcelain. Returning to Japan, Edo period (1603-1868) is the one who manages to shine urushi lacquer. The preparation of maki-e is optimal, and the many existing techniques are refined and renewed. So important is the lacquer that is introduced as a pictorial and decorative art in the Rimpa School. 

''The Actor Nakamuro Tomijuro as a Mounted Warrior''. By Okumura Masanobu.

The support is paper and the technique used is urushi-e painting. 

Edo Period (Japan). 

Urushi lacquer even extend, as well as unusual media before knowing the role. This adhesive paint used in various techniques like urushi-e. Is the use of coating materials such as paint colors. First a color for the edges is chosen (in this case is black). Need to apply a very thin brush. Inside the drawing is then bathed in different colors, usually obtained from pigments (turn achieved by metal oxides). For a thicker brush that is used as the surface to be covered is wider than during profiling. This technique has several variations that depend essentially on what was manufactured paint for decoration of lacquer. 

In this period, especially in the eighteenth and nineteenth centuries, with the rise of the bourgeoisie and the feudal weakening, all kinds of lacquerware are manufactured daily. 

The opening of Japan to Western society with Kanawaga Treaty (1854) will repay the glare of urushi art in his native country. It is the moment in which, however, appear in Europe and North America, important collectors of urushi lacquers. The pieces got (by purchase or plunder) are now displayed in some of the most significant museums. 

Currently, the urushi art is still practiced, though not enjoying the virtuosity of the past.