Sprinkled, Not Painted
Pictures - Japanese Lacquer
A personal view by John Neville Cohen
(as written for publication in 1995)
Before I describe these unique and beautiful works of art, exclusively
Japanese, I feel that you need to know more about Lacquer, the
extraordinary medium that was used. Only then will you fully appreciate
these brilliant creations.
For readers who are unfamiliar with old Japanese lacquer, I suspect you
will be thinking of the typical modern lacquer trays and bowls that are
mass-produced. These items are very decorative, but completely fail to
compare with the magnificent earlier hand made works.
From China to Japan
Lacquer is really the sap from a tree known as 'Rhus Vernicifera'. The
Chinese were the first to discover and use it, at least a century before
Christ, when it was used as a paint, and more often as a preservative. It
was a very effective preservative, as many pieces still exist from as far
back as the Han period 206BC, when lacquer was very popular and in
extensive use.
The earliest known Japanese lacquer dates back to about the 7th Century,
but it was not until the 14th and 15th century that the Japanese lacquer
works became so much more decorative. By then they had refined and created
exceptional techniques, far finer and more beautiful than the Chinese
lacquer that they had simply originally copied.
The Chinese had used shades of black, brown, yellow, green, and mostly
red or cinnabar Lacquer. They mainly favoured deep carving of the lacquer,
to form the decoration, and produced some outstanding work.
They often applied the colours in layers, so that once carved, these
colours would be revealed. One particular technique is known as 'Guri'
Lacquer: the colours mostly red and black were built up in layers, and
then a geometric or symmetrical pattern would be carved with a deep 'V'
shaped cut, so that all these alternating layers would be revealed within
the cuts. The Chinese also painted, incised and inlaid lacquer with
iridescent pieces of shell, but these works were treasured by the Japanese
often more so, than by the Chinese.
To begin with all these methods were copied, but by about the 15th
century the Japanese had become, justifiably, the unrivalled masters of
the art!
Lacquer was, quite rightly, highly valued for its lasting qualities and
strength. A very high gloss could be achieved, proving impervious to
alcohol, acids and hot liquids. It would also have appealed to the Zen
Buddhism ideals of 'Yin and Yang', as lacquer appears to be so delicately
beautiful and light in weight. Yet, it is hard, impermeable and enduring.
The Preparation
It is a very difficult medium to work with, uncompromising, sticky, and
time consuming. It had to be strained to remove any impurities, and gently
heated to thicken, and evaporate any moisture content. All the time it had
to be kept in a dust free environment, and added to these difficulties, in
its liquid form it gives off a poisonous gas! Strangely, it requires a
damp humid atmosphere for it to harden.
It had to be applied in very thin layers, otherwise it runs, and if too
thick, will not harden at all but will just form a skin. After each layer
had hardened, all the time in a dust free area, it was carefully rubbed
down before another layer would be added.
An average piece consisted of a minimum of 30 layers, in order that
there would not be a trace of the wood base, or on larger pieces the hemp
cloth applied in the early layers, to help strengthen the wood. The
lacquer artist would have taken over, only at this stage, to create the
decoration by the addition of yet even more layers.
The number of colours possible, due to chemical reactions with pigments
and the composition of lacquer were limited. So lacquer artists were still
restricted and blue was a very rare colour.
It was the Japanese that developed the idea and the techniques of adding
gold and silver to liven up the decoration. Real gold and silver metals
were used in the form of foil, flakes, metal particles of various grades,
as well as powders. All of these precious metals were brilliantly used to
great advantage, particularly in the late 18th and early 19th century.
The sprinkling of gold or silver metal particles had been used before
and over a very long period, to brighten up the interiors. Even very early
lacquer works have 'Nashiji' inside. This is where fine particles of gold
have simply been sprinkled in to the lacquer. Some were scattered
unevenly, producing cloud effects, whilst others varied in the
density. However no pictures were formed.
Sprinkled, Not Painted!
In the 18th century they invented and refined the idea of sprinkled
pictures, and these were used to great effect in what are known as
'Togadashi' pieces. They are easily identified, as the surface of the
lacquer is always perfectly smooth in togadashi work.
These designs and amazing pictures were created purely, by very
skillfully pouring various grades of fine metal and pigment powders on to
the wet Lacquer, so that they would sink in. There was no way of
correcting any errors! Extra layers of the background colour, normally
black, would be added over the picture. Then by carefully polishing down
until the picture reappears, the top edges of the metal particles would be
made to glisten from the polish, providing brilliance impossible to
achieve any other way. The last very thin coats would be of the purest
clear Lacquer, providing the mirror like high gloss finish.
Various shades of black were created, by charcoal mixed with different
quantities of silver powder, so that they could even simulate painted
brush strokes. These powders were mainly used for black pictures on a gold
background, that one would never imagine were created by sprinkling
techniques. What is also quite remarkable, is the very fine degree of
control in shading that they were able to achieve. This meant that far
more sophisticated pictures could be created, than had ever been seen
before.
There are three types of sprinkled picture techniques in all and
'Togadashi', already described, is my favourite! Another is 'Hiramakie',
which is where quite a thickly sprinkled gold powder is used, and the
lacquer is raised just a little above the background. As usual the surface
is polished and burnished, before the final clear layers, and has a very
rich appearance. Lastly, there is 'Takamakie', which is again similar to
'Hiramakie', only it is in much higher relief. This thickness was achieved
by building up and modelling the areas required in relief, with a
combination of lacquer and charcoal, before applying the gold powder
layers.
Highlights of Pure Gold
Many Lacquer artists made use of a combination of these techniques in a
piece of work. Just to further enrich these pictures, finely shaped tiny
pieces of pure gold, so small that it is hard to imagine how they were
handled, are individually applied near the final surface to create
highlights. Frequently these are exactly matched shapes, tiny squares or
diamond pieces that are all so amazingly very accurately placed.
Togadashi Boxes
One of our favourite examples of this type of work in this collection is
a fine Box that appears as two overlapping boxes. One shows the figure of
the swordsmith forging the sword 'Little Fox', assisted by the Fox Spirit
in the guise of a woman; the other has an overall design of a mass of gold
and coloured flowers.
Looking closely at the gold centres of the flowers one can see how
these consist of a number of very tiny shaped flakes of gold; each flake
has been carefully placed by hand.
It also has a marvellous fitted tray just in gold 'Togadashi' of three
foxes running in a landscape with a really dream like quality. The
border of the tray is decorated in 'Gyobu', which is where each
individual flake of gold has also been positioned by hand, rather than
sprinkled.
Another wonderful Box that is purely, fine togadashi, depicts a busy
street market scene, and what more can I say, other than it is an
outstanding piece of work!
Neither of these boxes is signed, but they are nevertheless, of the
finest quality.
Modern Works
A word of warning when buying lacquer, it is important that the
condition is both good and original. As there are now some cleverly
repaired pieces on the market, expert advice should always be obtained.
Fine lacquer is made even today, and there are certain living
traditional lacquer artists who are held in very high esteem in
Japan. So much so, that some have been designated as 'Living National
Treasures', and their contemporary hand made lacquer work is in high
demand and extremely expensive.
I have seen an example, at a lacquer study weekend held at the V & A
museum. A remarkable modern box that combined thick clear perspex with
black lacquer in a geometric design that really was very
dramatic. Personally I still prefer the earlier works and for the cost
of this modern box a very good collection could be formed!
John Neville Cohen, is a multifaceted
photographic artist and collector, who defies categorization. His
creative endeavours span projection photography, where he masterfully
blends light and form, creating International award winning photographs,
to his passion for collecting Asian antiques and classic Jensen cars.
Additionally, he has contributed interesting articles, and published
'The History of Jacey Cinemas', a unique stamp collecting album for
little people, apart from 'The Trudy and John Neville Cohen Collection'
of antiques. Have a look at his 'Homepage'
https://www.jncohen.net
To see other articles, with photographs, please use the following link:
https://www.jncohen.com/_antiques/Articles/articles.htm
|