Введение
Японский лак, посыпанный золотым или серебряным порошком.
Maki e (蒔絵) 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 maki e first appeared in the Heian period. This technique is the most used technique in Japanese lacquer decoration. The maki e is often combined with other techniques such as Raden (Japanese craft) (raden) in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, zōgan (象嵌) in which metal or ivory is embedded in lacquer, and chinkin (沈金) in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved. These 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. Hira maki e (平蒔絵)
At the first stage, a preliminary sketch process called okime is performed. After the original picture is drawn on the paper, thin washi is overlapped and copied along the outline from above, and then lacquer is applied to the outline drawn on the 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 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 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 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 suriurushi is inserted, in which a series of processes of rubbing lacquer onto lacquerware and drying it are repeated. Glossy maki e is completed through these complicated processes. 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 hira maki e. It was a technique developed and completed in the Heian period, and this technique was the mainstream of 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 makkinrusaku (末金鏤作) similar to this technique, it is sometimes said that Japanese maki e began during the Nara period.。
Макиэ (蒔絵) – это японская техника декорирования лаком, при которой изображения, узоры и надписи наносятся лаком на поверхность лакированных изделий, а затем на поверхность посыпается и закрепляется металлический порошок, такой как золото или серебро. Происхождение термина «макиэ» восходит к составному слову, где «маки» означает «посыпание», а «э» – «рисунок» или «дизайн». Этот термин также может использоваться для обозначения лакированных изделий, выполненных с использованием этой техники. Впервые термин «макиэ» появился в период Хэйан. Эта техника является наиболее распространенной в японском лаковом декоре. Макиэ часто сочетается с другими техниками, такими как радэн (японское ремесло) (raden), при которой перламутровый слой раковин моллюсков инкрустируется или приклеивается к лаку, зоган (象嵌), при котором металл или слоновая кость инкрустируются в лак, и тинкин (沈金), при котором золотая фольга или золотой порошок инкрустируются в углубления, образованные соскабливанием лака. Эти процессы макиэ начинаются после завершения стандартного процесса лакирования. Иными словами, необходимо предварительно создать толстый базовый слой лака, повторяя ряд операций, таких как нанесение лака на дерево или бумагу шпателем или кистью, сушка и полировка. Хира макиэ (平蒔絵)
Maki e (蒔絵) 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 maki e first appeared in the Heian period. This technique is the most used technique in Japanese lacquer decoration. The maki e is often combined with other techniques such as Raden (Japanese craft) (raden) in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, zōgan (象嵌) in which metal or ivory is embedded in lacquer, and chinkin (沈金) in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved. These 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. Hira maki e (平蒔絵)
At the first stage, a preliminary sketch process called okime is performed. After the original picture is drawn on the paper, thin washi is overlapped and copied along the outline from above, and then lacquer is applied to the outline drawn on the 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 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 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 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 suriurushi is inserted, in which a series of processes of rubbing lacquer onto lacquerware and drying it are repeated. Glossy maki e is completed through these complicated processes. 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 hira maki e. It was a technique developed and completed in the Heian period, and this technique was the mainstream of 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 makkinrusaku (末金鏤作) similar to this technique, it is sometimes said that Japanese maki e began during the Nara period.。
На первом этапе выполняется предварительный эскизный процесс, называемый окиме. После того, как исходный рисунок нанесен на бумагу, сверху накладывается тонкая бумага васи и рисунок переносится по контуру. Затем лак наносится тонкой кистью на контур, нарисованный на васи, и прижимается к поверхности лакированного изделия для переноса. Если рисунок или узор просты, этот процесс можно опустить. Следующий этап, называемый джигаки, – это подготовительный процесс перед нанесением металлического порошка. Лак наносится на места, где будет посыпаться металлический порошок, и служит клеем. Затем, в процессе, называемом фуммаки, металлический порошок распыляется с помощью стержня птичьего пера или бамбуковой трубки. В следующем процессе на металлический порошок наносится лак для его защиты, после чего лак высушивается. Первая полировка выполняется в процессе фунтоги. Лак слегка полируется, чтобы обнажить только поверхность металлического порошка, встроенного в лак. В последующем процессе полировки все лакированное изделие полируется абразивами разного размера частиц. Кроме того, в середине каждого процесса полировки вставляется процесс, называемый суриуруси, который представляет собой серию операций по нанесению лака на лакированное изделие и его сушке. Глянцевое макиэ создается в результате этих сложных процессов. Поскольку вся поверхность, включая рисунок, покрыта лаком, а затем полируется, поверхность рисунка и фон становятся гладкими, и металлический порошок труднее отслаивается, чем при хира макиэ. Эта техника была разработана и завершена в период Хэйан и оставалась основной техникой макиэ до конца периода Хэйан, когда технологии очистки золота и серебра были недостаточно развиты, а частицы порошка были грубыми. Поскольку в период Нара в хранилище Сёсоин хранится ножны для меча, выполненные с использованием техники макинрусаку (末金鏤作), похожей на эту, иногда утверждается, что японское макиэ возникло в период Нара.
Maki e (蒔絵) 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 maki e first appeared in the Heian period. This technique is the most used technique in Japanese lacquer decoration. The maki e is often combined with other techniques such as Raden (Japanese craft) (raden) in which a nacreous layer of mollusk shell lining is embedded or pasted in lacquer, zōgan (象嵌) in which metal or ivory is embedded in lacquer, and chinkin (沈金) in which gold leaf or gold powder is embedded in a hollow where lacquer has been shaved. These 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. Hira maki e (平蒔絵)
At the first stage, a preliminary sketch process called okime is performed. After the original picture is drawn on the paper, thin washi is overlapped and copied along the outline from above, and then lacquer is applied to the outline drawn on the 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 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 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 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 suriurushi is inserted, in which a series of processes of rubbing lacquer onto lacquerware and drying it are repeated. Glossy maki e is completed through these complicated processes. 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 hira maki e. It was a technique developed and completed in the Heian period, and this technique was the mainstream of 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 makkinrusaku (末金鏤作) similar to this technique, it is sometimes said that Japanese maki e began during the Nara period.。
Классификация по размеру и форме металлического порошка
Частицы металлического порошка грубо классифицируются на три типа: keshifun maki e (消粉蒔絵), hiragime или hiragoku maki e (平極蒔絵) и marufun (丸粉) или hon maki e (本蒔絵) в порядке убывания размера. С мелкими частицами keshifun maki e легко работать, однако адгезия частиц слабая, цвет становится беловатым, с небольшим блеском и выглядит тускло. С крупными частицами marufun maki e трудно работать, но они отличаются высокой прочностью, сильным блеском и ярким внешним видом благодаря неровному отражению света от частиц.
Маке
Мексиканское слово «мексиканская лаковая миниатюра» происходит от японского слова. Оно используется для обозначения «мексиканской лаковой миниатюры». Японская лаковая миниатюра попала в Мексику через манильские галеоны в период Намбан. Мексиканские мастера объединили в своих работах доиспанские, европейские и азиатские влияния.