urushi-e 漆絵
CATEGORY: art history / paintings
1 Painting done with colored lacquer iro-urushi 彩漆, made by mixing pigments in a base of transparent lacquer suki-urusi 透漆. Until the Edo period, five colors - red, black, yellow, green, and light brown - were available through the use of natural pigments. White lacquer was not produced until the mid 19c. One extant example of urushi-e dates back to the early Joumon period: a fragment of earthenware decorated with a simple pattern in red lacquer was found in the Torihama 鳥浜 shellmound kaizuka 貝塚, in Fukui prefecture. The decoration on the Tamamushi miniature shrine *Tamamushi no zushi 玉虫厨子 (mid-7c) in Houryuuji 法隆寺, Nara, is thought to be done by mixed techniques of urushi-e and *mitsuda-e 密陀絵. From the Nara period, painting in red lacquer against a black background was favored by aristocrats for lacquered wood utensils and furniture. Around the Momoyama period daily and ceremonial lacquerware decorated with colorful urushi-e or mitsuda-e became very popular. Complicated designs of flowers, birds, animals, and scenes from old stories were depicted and often made more decorative by using gold powders *sunago 砂子 and gold leaf kinpaku 金箔 (see *haku 箔) . Local traditions of painted lacquerware continue in many areas today.
2 A type of early hand-colored *ukiyo-e 浮世絵 woodblock print. Animal collagen glue *nikawa 膠 was added to black ink *sumi 墨 to give a lustrous appearance, which was reminiscent of black lacquer. It was used primarily for hairstyles and costume details such as obi 帯. In part to balance the strong black areas, other colors were made brighter. Bronze or brass powder as well as fine mica flakes unmo 雲母 were sometimes sprinkled onto these prints. Urushi-e was used primarily in the Kyouhou era 享保 (1716-36), and in the Kanpou 寛保 era (1741-44), but can be seen as late as 1764 on large works. The technique appears on the prints of artists such as Okumura Masanobu 奥村政信 (1686-1764), Nishimura Shigenaga 西村重長 (1697?-1756) and the Torii school *Toriiha 鳥居派 masters Torii Kiyonobu 鳥居清信 (1664-1729) and Kiyomasu 清倍 (fl.c.1696-1716).
urushi-e 漆絵CATEGORY: art history / paintings 1 Painting done with colored lacquer iro-urushi 彩漆, made by mixing pigments in a base of transparent lacquer suki-urusi 透漆. Until the Edo period, five colors - red, black, yellow, green, and light brown - were available through the use of natural pigments. White lacquer was not produced until the mid 19c. One extant example of urushi-e dates back to the early Joumon period: a fragment of earthenware decorated with a simple pattern in red lacquer was found in the Torihama 鳥浜 shellmound kaizuka 貝塚, in Fukui prefecture. The decoration on the Tamamushi miniature shrine *Tamamushi no zushi 玉虫厨子 (mid-7c) in Houryuuji 法隆寺, Nara, is thought to be done by mixed techniques of urushi-e and *mitsuda-e 密陀絵. From the Nara period, painting in red lacquer against a black background was favored by aristocrats for lacquered wood utensils and furniture. Around the Momoyama period daily and ceremonial lacquerware decorated with colorful urushi-e or mitsuda-e became very popular. Complicated designs of flowers, birds, animals, and scenes from old stories were depicted and often made more decorative by using gold powders *sunago 砂子 and gold leaf kinpaku 金箔 (see *haku 箔) . Local traditions of painted lacquerware continue in many areas today. 2 A type of early hand-colored *ukiyo-e 浮世絵 woodblock print. Animal collagen glue *nikawa 膠 was added to black ink *sumi 墨 to give a lustrous appearance, which was reminiscent of black lacquer. It was used primarily for hairstyles and costume details such as obi 帯. In part to balance the strong black areas, other colors were made brighter. Bronze or brass powder as well as fine mica flakes unmo 雲母 were sometimes sprinkled onto these prints. Urushi-e was used primarily in the Kyouhou era 享保 (1716-36), and in the Kanpou 寛保 era (1741-44), but can be seen as late as 1764 on large works. The technique appears on the prints of artists such as Okumura Masanobu 奥村政信 (1686-1764), Nishimura Shigenaga 西村重長 (1697?-1756) and the Torii school *Toriiha 鳥居派 masters Torii Kiyonobu 鳥居清信 (1664-1729) and Kiyomasu 清倍 (fl.c.1696-1716).
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