Editing Lacquerware (section)

====History and regional production====
Primitive lacquer was used in Japan as early as 12,600&nbsp;BC, during the [[Jōmon period]].<ref name = "nikkei1106">[https://megalodon.jp/2020-0707-0601-06/https://www.nikkei.com:443/article/DGXNASDG06018_W1A101C1CC1000/ 1万2千年前のウルシ木片 世界最古、福井で出土], [[The Nikkei]], November 6, 2011</ref>

Lacquer was used in Japan as early as 7000 BCE, during the [[Jōmon period]]. Evidence for the earliest lacquerware was discovered at the Kakinoshima "B" Excavation Site in [[Hokkaido]].<ref>Hokkaido's Minamikayabe Town, Kakinoshima site B (北海道の南茅部町の垣ノ島B遺跡)</ref> These objects were discovered in a pit grave dating from the first half of the Initial Jōmon period (approx. 9,000 years ago)<ref name = "nikkei1106"/><ref name = "kakinoshima">{{cite web|url=https://en.visit-hokkaido.jp/what-to-do/kakinoshima-jomon-archaeological-site/|archive-url=https://web.archive.org/web/20200707075655/https://en.visit-hokkaido.jp:443/what-to-do/kakinoshima-jomon-archaeological-site/|title=Kakinoshima Jomon Archaeological Site|publisher=Hokkaido Prefectural Government, Hokkaido Tourism Organization|archive-date=7 July 2020|access-date=13 November 2022}}</ref><ref name = "kakinoshimaj">[https://web.archive.org/web/20200128174441/http://www.pref.hokkaido.lg.jp/ks/bns/jomon/remains_is_kakinoshima01.htm Kakinoshima Excavation Site] Hokkaido Government</ref> Japanese lacquering technology may have been invented by the Jōmon. They learned to refine ''urushi'' (poison oak sap)&nbsp;– the process taking several months. [[Iron(III) oxide|Iron oxide (colcothar)]] and [[cinnabar]] (mercury sulfide) were used for producing red lacquer.<ref name=autogenerated1>[https://heritageofjapan.wordpress.com/just-what-was-so-amazing-about-jomon-japan/ways-of-the-jomon-world-2/jomon-crafts-and-what-they-were-for/ Jomon crafts and what they were for] heritageofjapan.wordpress.com</ref> Lacquer was used both on pottery, and on different types of wooden items. In some cases, burial clothes for the dead were also lacquered.<ref name=autogenerated1 /> Many lacquered objects have turned up during the Early Jōmon period; this indicates that this was an established part of Jōmon culture.<ref name=autogenerated1 /> Experts are divided on whether Jōmon lacquer was derived from Chinese techniques, or invented independently. For example, Mark Hudson believes that “Jomon lacquer technology was developed independently in Japan rather than being introduced from China as once believed”.<ref>[https://web.archive.org/web/20010305204407/http://coombs.anu.edu.au/SpecialProj/APM/TXT/hudson-m-02-96.html Sannai Maruyama: A New View of Prehistoric Japan], Mark Hudson, Asia-Pacific Magazine, No. 2 May 1996 pp. 47–48.</ref><ref name=autogenerated1 />

During the Asuka and [[Nara period]]s, between the 7th and 8th centuries, Chinese lacquer art forms were imported to Japan.

[[File:Tebako (Cosmetic box) Design of wheels-in-stream.jpg|thumb|Cosmetic box Design of wheels-in-stream in ''maki-e'' lacquer and mother-of-pearl inlay, [[Heian period]], 12th century (National Treasure)]]
In the [[Heian period]] (794–1185), various ''Maki-e'' techniques characteristic of Japanese lacquerware were developed. While the method of drawing designs with a brush by dissolving gold powder in lacquer is a common technique in other countries, the method of drawing designs with lacquer and then sprinkling gold, silver, or copper powder of various sizes and shapes on top to polish them was developed in Japan. This made it possible to make the gold and silver of lacquerware brighter than before.<ref name = "murata24">Masayuki Murata. ''明治工芸入門'' p. 24. Me no Me, 2017 {{ISBN|978-4907211110}}</ref>

In the [[Kamakura period]] (1185–1333), carved lacquer from the Song dynasty of China was imported to Japan. However, many Japanese lacquer craftsmen did not adopt the Chinese method of depositing lacquer and then carving it; instead, they created [[Kamakurabori]], a method of carving wood and then coating lacquer.<ref>[https://web.archive.org/web/20170618214433/http://ch.kanagawa-museum.jp/dm/kamakura/rekisi/k_rekisi02.html Carved lacquer and Lacquered sculpture] [[Kanagawa Prefectural Museum of Cultural History]]</ref>

[[File:花鳥蒔絵螺鈿聖龕.jpg|thumb|A Japanese lacquerware produced and exported at the request of the [[Society of Jesus]]; [[Azuchi–Momoyama period]], 16th century, [[Kyushu National Museum]]]]
Japanese lacquerware was abundantly exported to China where the [[Ming dynasty|Ming]] and [[Qing dynasty|Qing]] rulers generally described Japanese lacquerwares as " foreign lacquer " ( yangqi ). Yang Ming, and famous lacquer man [[Wuyue culture|Zhejiang]], made annotations for A Record of Decoration with Lacquer,&nbsp;... People of the Ming dynasty once recorded: “The decoration art with lacquer coated with gold originated (maki-e) from Japan". Yang in the reign of [[Xuande Emperor|Xuande]] of the Ming dynasty made a trip to Japan to study Japanese techniques, and a Japanese visited a Chinese imperial workshop in [[Beijing]] during the Ming dynasty. It is well documented that the [[Yongzheng Emperor]] had a formidable interest in Japanese lacquer, ''yangqi'', and this was reflected in many of the works produced in the Imperial workshops during his reign.<ref>{{Cite web|title=AN IMPERIAL GOLD-LACQUERED INCENSE STAND|url=https://www.christies.com/en/lot/lot-5978882|access-date=2021-01-19|website=www.christies.com|language=en}}</ref><ref>{{Cite journal|last=Kleutghen|first=Kristina|date=2017|title=Imports and Imitations: The Taste for Japanese Lacquer in Eighteenth-Century China and France|url=https://www.worldcat.org/oclc/7308043513|journal=Journal for Early Modern Cultural Studies|volume=17|issue=2|pages=175–206|doi=10.1353/jem.2017.0013|s2cid=165251830|issn=1531-0485|oclc=7308043513|url-access=subscription}}</ref><ref>{{Cite book|last=Bayerova, Tatjana.|url=https://www.worldcat.org/oclc/960757571|title=Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900): Lacquerware & Porcelain. Conference 2013 Postprints.|date=2015|publisher=Böhlau Verlag|others=Griesser-Stermschegg, Martina., Trummer, Manfred., Schreiner, Manfred., Iby, Elfriede., Krist, Gabriela.|isbn=978-3-205-20192-2|location=Köln/Wien|oclc=960757571}}</ref><ref>{{Cite book|last=Victoria and Albert Museum.|url=https://www.worldcat.org/oclc/900484109|title=The Victoria and Albert Museum: a bibliography and exhibition chronology, 1852–1996|date=1998|publisher=Routledge|others=James, Elizabeth, 1957-|isbn=978-1-315-07424-5|location=London|oclc=900484109}}</ref><ref>{{Cite book|url=https://www.worldcat.org/oclc/1227059965|title=THIRTY GREAT INVENTIONS OF CHINA from millet agriculture to artemisinin.|date=2020|publisher=SPRINGER VERLAG, SINGAPOR|isbn=978-981-15-6525-0|location=[S.l.]|oclc=1227059965}}</ref> In the [[Azuchi–Momoyama period|Azuchi-Momoyama period]] (1568–1600) also made its way into [[New Spain|Colonial Mexico]] ([[Manila galleon|Manila Galleons]]) and Europe by [[Nanban trade]]. Japanese lacquerware attracted European aristocrats and missionaries from Europe, and western style chests and church furniture were exported in response to their requests.<ref>{{Cite journal|last=Moreno|first=Pilar Cabañas|url=https://www.academia.edu/43481357|title=Traces of Japanese art in New Spain: screens, "enconchados" and maques|journal=Kawamura, Yayoi (Ed.), Namban Lacquer Remained in Spain. 400 Years After the. Keichô Embassy, Madrid, Ministerio de Cultura y Deporte y Japan Foundation, Pp. 85-106, Cd Versión|date=January 2013|language=en}}</ref><ref>{{Cite web|title=Namban & Enconchado: Japan and Mexico Meet|url=https://japan-and-mexico-meet.tumblr.com/?og=1|access-date=2021-01-19|website=japan-and-mexico-meet.tumblr.com|language=en|archive-date=2021-04-16|archive-url=https://web.archive.org/web/20210416014842/https://japan-and-mexico-meet.tumblr.com/?og=1|url-status=dead}}</ref><ref>[https://web.archive.org/web/20191225065626/http://en.urushi-joboji.com/urushi Urushi once attracted the world] urushi-joboji.com</ref>

[[File:印籠-Inro with Fox's Wedding.jpg|thumb|''[[Inro]]'' with Fox's Wedding ({{transliteration|ja|[[Kitsune no yomeiri]]}}); [[Edo period]], late 18th – early 19th century]]
The [[Edo period]] (1603–1868) saw an increase in the focused cultivation of lacquer trees and the development of the techniques used. In the 18th century colored lacquers came into wider use. With the development of economy and culture, the artistic quality of lacquered furniture has improved. [[Hon'ami Kōetsu]] and [[Ogata Kōrin]] brought the designs of the [[Rinpa school]] of painting into lacquerware. From the middle of the Edo period, ''[[inro]]'' became popular as men's accessories, and wealthy merchants of the ''[[chōnin]]'' class and [[samurai]] class collected ''inro'' of high aesthetic value, precisely designed with lacquer.<ref name = "murata104">Masayuki Murata. ''明治工芸入門'' p. 104. Me no Me, 2017 {{ISBN|978-4907211110}}</ref><ref name = "saimitsu104">Yūji Yamashita. ''明治の細密工芸'' p. 80. Heibonsha, 2014 {{ISBN|978-4582922172}}</ref> [[Marie Antoinette]] and [[Maria Theresa]] are known collectors of Japanese lacquerware and their collections are now often exhibited in the [[Louvre]] and the [[Palace of Versailles]].<ref name = "murata24"/>

In the [[Meiji (era)|Meiji period]] (1868–1912), Richly-decorated lacquerwares in original designs were popular domestically, and even more so with Western buyers during this period of European and American [[Japonisme|fascination with Japanese art]]. [[Shibata Zeshin]]'s lacquer work was especially popular.{{sfn|Earle|1999|pp=186–187}} In addition, lacquerware called ''Shibayama'', which was created in the Edo period, became popular for its showy style, inlaid with gold, silver, shellfish, ivory, coral, tortoise shell and ceramics, and reached its peak during this period. Lacquerware called ''Somada'', which was created in the Edo period and characterized by regular patterns of finely cut seashells, [[gold leaf]] and silver leaf, also became popular during this period.<ref name = "saimitsu60">Yūji Yamashita. ''明治の細密工芸'' pp. 60–61. Heibonsha, 2014 {{ISBN|978-4582922172}}</ref> The government took an active interest in the art export market, promoting Japan's lacquers and other decorative arts at a succession of [[world's fair]]s.{{sfn|Earle|1999|pp=30–31}}<ref>{{Cite web|url=https://www.japantimes.co.jp/culture/2013/12/14/books/book-reviews/japonisme-and-the-rise-of-the-modern-art-movement-the-arts-of-the-meiji-period/|title=[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period|last=Liddell|first=C. B.|date=2013-12-14|website=The Japan Times|language=en-US|access-date=2020-03-19}}</ref> Lacquer from Japanese workshops was recognised as technically superior to what could be produced anywhere else in the world.{{sfn|Earle|1999|p=187}}

Today, the [[Government of Japan|Japanese government]] has designated excellent lacquer artists as [[Living National Treasure (Japan)|Living National Treasures]] and is encouraging them to make lacquerware. Lacquerware is produced throughout the Japanese archipelago, with many regional techniques and variations. Besides the very old Kamakura tradition mentioned above (and still alive today), the port town of [[Wajima, Ishikawa|Wajima]] provides a good example of regional lacquerware. ''[[Wajima-nuri]]'', dating back to the 16th century, is characterized by use of the elm-like Japanese zelkova (''[[keyaki]]'' 欅), powdered earth, and delicate features formed from cloth. (See the Japanese article, [[:ja:輪島塗|輪島塗]]. A more complete list of regional lacquer traditions is available in [[:ja:日本の漆器#生産地|the Japanese article]].)

<gallery>
File:Tiered Stand with Designs Alluding to The Tale of Genji.jpg|Tiered Stand with Designs Alluding to ''[[The Tale of Genji]]'', by [[Hon'ami Kōetsu]], 17th century
File:Reading Stand with Mount Yoshino.jpg|Reading Stand with [[Mount Yoshino]], Edo period, 18th century
File:Blade and Mounting for a Short Sword (Wakizashi).jpg|Lacquered exterior of ''[[wakizashi]]'' Fusamune, Edo period, 18th century
File:'Fuji Tagonoura', 'maki-e' picture by Shibata Zeshin, 1872.jpg|''Maki-e'' ''[[Mount Fuji|Fuji]] Tagonoura'', by [[Shibata Zeshin]], [[Meiji (era)|Meiji period]], 1872
File:Khalili Collection Japanese Meiji Art L160.jpg|''Maki-e'' Writing-table, by Shirayama Shosai, Meiji period, 19th century, [[Khalili Collection of Japanese Art]]
File:松田権六 蒔絵螺鈿有職文飾箱.jpg|by [[Living National Treasure (Japan)|Living National Treasure]] Gonroku Matsuda, [[Shōwa (1926–1989)|Showa period]], 1960
</gallery>
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