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INLET SECTION AT 45 DEGREE ANGLE
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Related
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Case (Inrō) with Design of Heron in Flight and Flowering Plant (obverse); Hawk Attacking a Crane (reverse)
Case (Inrō) with Design of Heron in Flight and Flowering Plant (obverse); Hawk Attacking a Crane (reverse)
Case (Inrō) with Design of Goose Flying Down (obverse); Inscription and Seal beside Reeds (reverse)
Case (Inrō) with Design of Daruma (obverse); Fly Whisk and Scepter (reverse)
Case (Inrō) with Design of Imperial Cart and Flying Herons (obverse); Court Carriage and Flying Herons (reverse)
Summary
Public domain photo of a golden object, free to use, no copyright restrictions image - Picryl description.
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 (螺鈿) 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. To create different colours and textures, maki-e artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminum, platinum, and pewter, as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines. As it requires highly skilled craftsmanship to produce a maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately become maki-e masters. Kōami Dōchō (1410–1478) was the first lacquer master linked to specific works. His maki-e works used designs from various Japanese contemporary painters. Kōami and another maki-e master, Igarashi Shinsai, were originators of the two major schools of lacquer-making in the history of Japan.