当用語集の内容の無断転載や複製、一部分、
もしくは全体の商業目的への活用などを禁じます。
Unauthorized reproduction, display and distribution of this copyrighted material, and any commercial use ofthis glossary, whether in part or in whole, is strictly prohibited.

1

2

3

Ⅰ漆

日本の漆用語Ⅰ 漆（7項目）
ウルシノキから採取される樹液。ウルシノキは日本・中国・朝鮮半島地域に生育する落葉広葉樹。主成分はウルシオールと称し、接着剤や塗料として利用されている。ウルシノキに近い
樹木はベトナム・タイ・ミャンマーなどの東南アジア地域に生育するが、主成分が異なる。

Ⅱ 髹漆

1 日本産 漆日本では季節毎に漆の性質の違いに分けて採取する。6月〜7月の雨の多い時期に採取した漆液を初 辺と呼び、蝋 色 仕上げ＊の艶 上げ＊や漆工文化財修理に用いる。その後、7月後
Ⅲ 蒔絵

半から8月末頃までの気温が高く雨の少ない季節に採取した漆液を盛 辺と呼び、透 漆＊や蝋色漆などの上塗り漆に用いる。その後 9月以降に採取した漆液を末 辺と呼び、中塗りや下地、あるいは他の時期に採取した漆液と混ぜて用いる。これらの漆液を総称して辺 漆と呼ぶ。10月以降は裏目漆・止め漆・枝漆などと称する漆を掻き、主に下地漆＊に用いる。漆液の硬化は乾燥とは異なり、高湿度状態で重合硬化する性質

Ⅳ 蒔絵以外の装飾を持つ。従って、水分の多く含まれた漆ほど硬化が早い。さらに、一旦重合硬化した漆はいかなる酸・アルカリにも冒されない強固な塗膜になる。
また、紫外線により劣化し分解される性質を持つため、紫外線に曝さないで保存すれば、千年以上にわたり塗膜を保つことも可能である。
しかし、太陽光に曝しておけば最終的には土に戻る自然に優しい天然樹脂である。

Ⅴ 道具・材料

日本産漆の採取（岩手）Gathering urushi sap (Iwate prefecture)

2 生漆
採取したままの漆液の呼称。掻き取ったままの樹液は、掻き取りの際に幹の表皮などが混ざっているものを荒 味 漆という。それを濾過したものを生 正 味 漆といい、一般的には生正味Ⅵ 素地

漆を生漆と指すことが多い。生漆は水分が多く含まれており、蝋色仕上げ＊の艶上げ＊漆や下地＊漆として用いるが、硬化が早く塗装には適さないため、なやし＊・くろめ＊などの精製を行うことにより、透漆や黒蝋色漆と呼ばれる漆となる。

4

I. Urushi (seven entries)

1. Japanese urushi

V. Tools and materials
VI. Substrates

Unprocessed urushi sap. Raw sap, which is known as arami urushi, contains impurities suchas pieces of bark from the trunk of the urushinoki (urushi tree). Once filtered, it is calledkijōmi urushi. Kijōmi urushi is generally referred to as ki urushi (raw urushi). Ki urushi hasa high water content and is used for bringing out the shine (tsuyaage*) in the final stage ofthe roiro shiage* (roiro finishing) procedure. It is also used in the preparation of shitaji*
foundations. Since it is unsuitable for use as a coating, its high water content making it prone
to harden too quickly, procedures including nayashi* (homogenisation) and kurome* (water
reduction) are used to produce refined types of urushi such as suki urushi* (transparent
urushi) and kuro roiro urushi* (black roiro urushi).

IV. Decorative techniques
other than maki-e

2. Ki urushi (raw urushi)

III. Maki-e

In Japan, urushi sap is collected at different times of the year, its characteristics varying
according to when it is harvested. Sap gathered during the rainy season from June to Julyis referred to as hatsuhen (lit. first cutting) and is used in the tsuyaage* (bringing out theshine) stage of the roiro shiage* (roiro finishing) procedure. It is also used in the conservationof cultural properties made using urushi. Sap obtained at the height of summer from thesecond half of July to the end of August, when temperatures are high and there is little rain,
is known as sakarihen (lit. peak cutting). This is used in the form of suki urushi* (transparent
urushi), roiro urushi* and other kinds of upper (uwanuri) urushi coating. Sap obtained in
September, known as suehen (lit. late cutting), is used for middle (nakanuri) urushi coatingsand in the preparation of shitaji* foundations. It is also used mixed with sap gathered atother times of the year. Hatsuhen, sakarihen and suehen are known collectively as hen urushi.
Types of urushi obtained from October onwards are known variously as urame urushi, tome
urushi and eda urushi. They are used mainly in the preparation of shitaji* foundations.
Urushi does not dry in the usual sense of the word but hardens or cures through a process ofpolymerisation induced by high humidity. This means that the higher the water content of
the urushi, the more quickly it will harden. Once urushi has polymerised and hardened intoa solid coating, it is resistant to even the most corrosive acids and alkalis. Although hardenedurushi surfaces deteriorate and degrade when exposed to UV, they can last for a thousand
years or more if kept in appropriate conditions. When over-exposed to sunlight, on the other
hand, urushi will break down and eventually turn to dust. In this respect it is a natural andecologically friendly substance.

II. Kyūshitsu

Urushi is the sap obtained from the urushinoki (urushi tree, Toxicodendron vernicifluum),which is a deciduous, broadleaf member of the Anacardiaceae family native to Japan, China
and Korea. With urushiol as its main constituent, urushi is used both as an adhesive and as a
coating material. Similar trees grow in Southeast Asian countries such as Vietnam, Thailand
and Myanmar, but the primary constituent of their sap differs from that of the urushinoki.

I. Urushi

Japanese Urushi (Lacquer) Glossary

5

Ⅰ漆

3 なやし
漆の精製工程の一つ。荒味漆（生漆＊を参照）
を撹拌する作業。漆を常温で撹拌すること
で、漆液中に分散する水球粒子が細かく、成分が均一になる。

4 くろめ
Ⅱ 髹漆

漆の精製工程の一つ。荒味漆をなやす＊作業に続いて行われ、天日や炭火で熱を加えながら撹拌して、生漆中に含まれる30％近い水分を5％以下まで徐々に蒸発で減らす。撹拌することにより、肌理が細かくなる。
また、水分を減らすことにより、肉持ちが良くなり、透明度が高くなる。
さらに、硬化に要する時間が長くなるため、塗料として扱いやすくなる。精製した漆を素ぐろめ漆と呼ぶ。

くろめ作業
Kurome (water reduction)

Ⅲ 蒔絵

5 透 漆（木地蝋 漆 ）精製した漆である素ぐろめ（くろめ＊を参照）漆の一種。盛辺（日本産漆＊を参照）と呼ぶ時期の漆を精製した漆で、透蝋色 漆 あるいは木地蝋漆ともいう。半艶で茶褐色の透明な色味

Ⅳ 蒔絵以外の装飾を呈する。精製の際にクチナシやガンボージの実の煮汁を加え、黄色味を帯びた透漆を別にという。
梨子地＊ 漆という。若干の乾性油を加えて精製した艶のある透漆を艶透 漆（朱合 漆 ）透漆は、低湿度環境で時間をかけて硬化させると、明るく透明度の高い塗膜が得られる。

6 色漆
透漆に顔料を練り合わせたもの。かつては天然顔料を用いたため、微粒子で漆に混和出来
Ⅴ 道具・材料

る顔料は限られ、朱・褐色・黄・緑・黒の5 色しか出せなかった。現在は二酸化チタニウムから得られる人工顔料が作られ、自由な色が出せる様になった。透漆の性格上、時間をかけて硬化させた色漆は発色が良い。

7 黒蝋色 漆（蝋色 漆 ）Ⅵ 素地

精製漆の一種で黒色の漆を指す。盛辺（日本産漆＊を参照）の荒味漆（生漆＊を参照）に鉄剤を混入させ、ウルシオールと鉄イオンを反応させて黒色にしてから精製する漆。色漆＊としての黒漆は油 煙・松 煙などの粒子を混和するため不透明だが、黒蝋色漆は粒子が入らない
ため塗肌がきめ細かく透明度がある。蝋色仕上げ＊に用いられる最高の漆。

6

A refining process. It involves slowly stirring arami urushi (raw urushi sap, see ki urushi*)at room temperature so that the water it contains is broken down into small and evenly
dispersed particles.

I. Urushi

3. Nayashi (homogenisation)

4. Kurome (water reduction)

IV. Decorative techniques
other than maki-e

A type of sugurome urushi (see kurome*). Suki urushi is made by refining sakarihen (lit. peak cutting)urushi (see Japanese urushi*). Alternative names are suki roiro urushi (transparent roiro urushi)
and kijiro urushi. It is semi-lustrous and transparent brown both in liquid form and as a hardened
coating. Addition of the extract of boiled gardenia or gamboge fruit during refining produces ayellowish colour. This variation of suki urushi is known as nashiji urushi (urushi used for nashiji* or
pear skin grounds). The addition of a small amount of drying oil during refining results in what isreferred to as tsuya suki urushi (lustrous transparent urushi) or shuai urushi. Suki urushi hardened
at low humidity over a long period of time produces a bright and highly transparent coating.

III. Maki-e

5. Suki urushi (transparent urushi), also known as kijiro urushi

II. Kyūshitsu

A refining process. Following nayashi* (homogenisation), arami urushi (raw urushi sap,
see ki urushi*) is stirred while being warmed by the sun or over a heat source such as acharcoal fire. Gradual evaporation reduces the relative water content of the urushi fromaround 30% to less than 5%. Stirring makes the urushi smoother, while the reduction of
its water content makes it more transparent and enables it to be applied in a thick layer.
The lower water content also reduces the rate at which the urushi hardens, which makes it
more manageable to work with. The resulting refined urushi is known as sugurome urushi.

6. Iro urushi (coloured urushi)
V. Tools and materials

Suki urushi* (transparent urushi) mixed with pigments. In the past there were only five coloursof urushi, namely vermilion (red), brown, yellow, green and black. The colours derived fromnatural pigments with a particle size sufficiently small to combine with urushi. Today there
is much greater choice thanks to the availability of synthetic pigments made with titanium
dioxide. This allows the creation of iro urushi in a much greater range of colours. Owing to thenature of suki urushi*, it is best to allow iro urushi to harden slowly over a long period of time.

7. Kuro roiro urushi (black roiro urushi), also known as roiro urushi
VI. Substrates

Refined urushi that is black. It is made by adding powdered iron or ferrous hydroxide (Fe(OH)2) tosakarihen (lit. peak cutting, see Japanese urushi*) arami urushi (raw urushi sap, see ki urushi*) prior
to refining. The black colour results from the chemical reaction that takes place between ferrous
ions and the urushiol component of the urushi. There is also a pigmented iro urushi* (coloured
urushi) form of black urushi made by mixing lampblack or pine soot with suki urushi* (transparent
urushi). The soot particles result in an opacity that differs in quality from the translucent and finely
textured finish obtained with kuro roiro urushi. Kuro roiro urushi is the best type of urushi fortreatment using the roiro shiage* (roiro finishing) procedure.

7Ⅰ漆

Ⅱ 髹 漆（30項目）
漆を塗ること。多くは素地から下地工程を経た後に刷毛を用いた塗り工程となる。本来、
髹漆は塗り工程だけを指すが、ここでは下地から塗りを経て完成までの工程を解説する。
素地は第 VI 章で説明する。

Ⅱ 髹漆

1 髹漆
漆塗りは 漆 刷 毛＊を用いて下塗・中塗と、塗り・研ぎを繰り返して塗肌を整え、仕上げの上塗を施す。研ぎは専用に柔らかく焼いた研 炭＊を用いて、水を付けながら平滑に研ぐ。上塗はそのまま仕上げとする塗 立＊仕 上げと磨き上げる
蝋色仕上げ＊がある。上塗漆は黒漆（黒漆塗＊を

Ⅲ 蒔絵

参照）
・透漆＊・色漆＊など使用する漆は様々である。また、絞 漆 ＊を用いるなど複雑な技法を用いた変 塗＊なども含まれる。

Ⅳ 蒔絵以外の装飾髹漆Kyūshitsu (application of urushi)

2 黒漆塗
上塗り技法の一つ。精製漆の一つの黒色の漆を上塗に施す塗り。黒漆には黒蝋色漆＊と煤を混和した黒漆がある。蝋色仕上げ＊には黒蝋色漆を用いるが、塗立＊仕上げにはどちらも使用出来る。中塗まで煤を混和した黒漆を塗り、上塗に透漆＊を用いる場合もある。

Ⅴ 道具・材料

3 朱漆塗
上 塗り技 法の一つ。中塗までは黒 漆を塗り、上 塗に朱 漆を施す塗り。朱 漆には本 朱・赤口朱・淡口朱・黄口朱と色味によって名称がつくが、本朱以外の3種を洗 朱と呼ぶ。朱の

Ⅵ 素地

8

顔料は硫化水銀で、その比重が重いほど色が濃く（本朱）、軽いほど色が黄味を帯びる。

Kyūshitsu means the application of urushi. The term is often used more broadly to include
the application of urushi shitaji* (urushi-based foundation) layers and the making of theunderlying substrate. The entries in this section describe how shitaji* foundations are made,the processes of lacquering using a brush, and methods of finishing. Substrates are explainedin Section VI.

3. Shu urushi nuri (vermilion urushi lacquering)

VI. Substrates

An upper (uwanuri) urushi coating method. Black urushi is used up to and including the
middle lacquering (nakanuri) stage, and shu urushi (vermilion (red) urushi) is applied as theuwanuri coating. Shu urushi is divided by colour into honshu (true vermilion), akakuchishu(reddish vermilion), awakuchishu (pale vermillion) and kiguchishu (yellowish vermilion).
The last three are known collectively as araishu (lit. washed vermilion). The pigment used
to produce the vermilion colour is mercury sulfide. The higher its relative density, as withhonshu, the deeper the vermilion colour, while the lower its relative density, the moreyellowish it is.

V. Tools and materials

An upper (uwanuri) urushi coating method. There are two types of black urushi used forkuro urushi nuri. The first is kuro roiro urushi* (also called roiro urushi), the second isurushi mixed with soot. Only the former is suitable for polishing to a high gloss using theroiro shiage* (roiro finishing) procedure, while either can be used for a nuritate* finish. An
alternative method to both of these is to use urushi mixed with soot up to and including the
middle lacquering (nakanuri) stage, and to then apply suki urushi* (transparent urushi) as
the uwanuri coating.

IV. Decorative techniques
other than maki-e

2. Kuro urushi nuri (black urushi lacquering)

III. Maki-e

Kyūshitsu involves the repeated application of lower (shitanuri) and middle (nakanuri)
coatings of urushi with an urushibake* brush and the abrading of each coating, after
hardening, so that it is smooth and even. The final step is the application of at least one
upper (uwanuri) coating of urushi. Abrading is carried out using water and soft charcoal
produced specifically for the purpose. The final uwanuri coating can be left as it is (nuritate*)or polished to a high gloss using the roiro shiage* (roiro finishing) procedure. Various typesof urushi can be used for the uwanuri coating, including kuro urushi (black urushi, see kurourushi nuri*), suki urushi* (transparent urushi) and iro urushi* (coloured urushi). The term
kyūshitsu also covers numerous complex techniques often involving shibo urushi* that arereferred to collectively as kawari nuri* (special lacquering in a variety of types).

II. Kyūshitsu

1. Kyūshitsu (application of urushi, lacquering)

I. Urushi

II. Kyūshitsu (30 entries)

9Ⅰ漆

4 潤 朱塗（潤塗）
上塗り技法の一つ。赤色漆としての朱漆（朱漆塗＊を参照）に黒漆を混和した紫色系のもの
を潤朱漆といい、その漆を上塗に用いる技法。この場合、黒漆（黒漆塗＊を参照）は蝋色漆
より顔料を混和した漆の方が硬化後の色の変化が少ない。赤色漆として弁柄漆を用いた
場合は茶色系となり、ベンガラ潤あるいは泥 潤と称する。赤色漆や黄色漆の上に透漆＊をⅡ 髹漆

上塗に用いる場合にも、広くこの名称を用いる場合がある。

5 溜塗
上塗り技法の一つ。透漆＊を用い上塗る技法。下塗までは黒漆を塗り、中塗に朱漆（朱漆塗＊を参照）やベンガラ漆の赤色の漆などを塗る。赤くなった中塗面を研ぎ、透漆を上Ⅲ 蒔絵塗ることにより、飴色がかった落ち着いた仕上がりになる。特に朱漆の上に塗ったものを
朱 溜塗・紅 溜塗という。

Ⅳ 蒔絵以外の装飾

6 木地蝋塗（木地呂塗）
上塗り技法の一つ。透漆＊を用い木地表面の杢 理を見せて上塗る技法。針葉樹・広葉樹を問わず、美しい木目の木地を半透明で飴色の漆の色調で仕上げる。導管の太い広葉樹の場合は、下地＊や漆で導管を埋めるなど、木地表面を整えてから上塗りを行う。木地を赤色や黄色に着色してから塗る場合もある。木地溜塗とも称する。

Ⅴ 道具・材料
Ⅵ 素地

10

木地蝋塗の椀
Kijiro nuri bowl

II. Kyūshitsu

An upper (uwanuri) urushi coating method. The term covers a variety of techniques. One
involves the use of an uwanuri coating consisting of a purplish mixture of vermilion (red)urushi (see shu urushi nuri*) and black urushi. If the black urushi in the mixture is of thekind pigmented with soot (see kuro urushi nuri*), there is less colour change after hardening
than if roiro urushi* is used. The use of bengara urushi (urushi mixed with red ochre) insteadof vermilion urushi produces a brownish hue. This is referred to as bengara urumi or doro
urumi (lit. mud urumi). The term urumishu nuri (or urumi nuri) is also used more broadly todescribe red or yellow urushi over which suki urushi* (transparent urushi) has been applied
as the uwanuri coating.

I. Urushi

4. Urumishu nuri, also known as urumi nuri

5. Tame nuri

V. Tools and materials

An upper (uwanuri) urushi coating method. In order to reveal the grain of wooden
substrates, this method makes use of suki urushi* (transparent urushi) for the uwanuri
coating. A wooden substrate with an attractive grain, either from a coniferous or a broadleaf
tree, is finished with semi-transparent urushi in a shade of caramel. In the case of wood frombroadleaf trees with large pores, the surface of the substrate is made smooth by filling the
pores with shitaji* foundation material or urushi before the uwanuri coating is applied. In
other instances, the wooden substrate is coloured red or yellow before lacquering. The kijiro
nuri method is also called kijitame nuri.

IV. Decorative techniques
other than maki-e

6. Kijiro nuri

III. Maki-e

An upper (uwanuri) urushi coating method. This method makes use of suki urushi*(transparent urushi) for the uwanuri coating. Black urushi is used for the lower (shitanuri)
coatings, followed by red urushi such as shu urushi (vermilion urushi, see shu urushi nuri*)or bengara urushi (urushi mixed with red ochre) for the middle (nakanuri) coatings. The red
surface is then abraded, after which the suki urushi* uwanuri coating is applied. The result isa restrained caramel colour. There are two narrower terms, shudame nuri and benitame nuri,
which specifically refer to suki urushi* applied over a shu urushi ground.

VI. Substrates

11

Ⅰ漆

7 白 檀塗上塗り技法の一つ。中塗研ぎ面に金箔を貼った後に、透漆＊を用い薄く上塗る技法。箔の代
わりに消粉＊を蒔く場合もある。銀箔・銀粉を使用した場合は別に銀白檀と呼ぶ。

Ⅱ 髹漆

8 変塗（鞘塗）
塗り技法の一つ。上塗に装飾的な表現を用いた仕上げ技法。技法は髹漆＊的な技法を用いたものと、蒔絵＊的な技法を用いた技法がある。髹漆的技法は主に絞漆＊と呼ばれる粘性の強い漆を用いる技法、錆 漆＊を用いた技法、型紙を用いる技法など、表現は多様である。
蒔絵技法を応用したものは、薄貝の微塵や卵殻＊を用いる技法、錫金貝＊を用いる技法、植物Ⅲ 蒔絵の種・棕 櫚・松葉・刻み煙草などを用いる技法等々、多種に及ぶ。刀剣類の鞘を塗る技法に多く用いられたことから、鞘塗と称する場合もある。変塗技法を用いる地方漆器も多く津軽塗・若狭塗など、それぞれの産地の特色となっている。

Ⅳ 蒔絵以外の装飾

9 絞漆
漆に粘 稠剤を加えて粘度を高めたもの。加える主な材料は豆腐・卵白・ゼラチン・生麩などのタンパク質で、漆がこれらと混和することによって粘性が増す性質を利用して、主に変塗＊の表現に用いられる。塩基性炭酸鉛（唐の土）を混和させて固くして用いる技法もある。

Ⅴ 道具・材料

10 下地
漆器の強度を増すために最初に施される工程。下地は漆下地＊を基本とする。地の粉＊という下地土に生漆＊を加えた粗粒子の下地層から、微粒子の下地層まで順に何回も重ねる。
このような数多い下地工程を省略した下地方法もあるが、本来の漆下地に比べ弱い。また
下地に全く漆を使用しない代用下地もあるが、脆弱で剥がれやすい。

Ⅵ 素地

12

An upper (uwanuri) urushi coating method. After pasting gold foil onto an abraded middle(nakanuri) urushi surface, suki urushi* (transparent urushi) is thinly applied as the uwanuri
coating. An alternative to gold foil is gold keshifun* powder sprinkled onto the nakanuri
surface. When silver foil or silver powder is used, the effect is called gin byakudan (lit. silver
sandalwood).

Urushi mixed with viscous materials as thickeners. The materials used are mainly proteinssuch as tōfu (soybean curd), egg white, gelatin and namafu (wheat gluten mixed with rice
flour, then steamed or boiled). Shibo urushi is used mainly in the realisation of kawari nuri*(special lacquering in a variety of types). There is also a technique in which urushi is madethicker by mixing with basic lead carbonate (white lead) instead of protein.

VI. Substrates

Making a shitaji foundation is the first step undertaken to strengthen a piece of lacquerware.
The most important type of shitaji is an urushi shitaji* (urushi-based foundation). Making
an urushi shitaji* foundation involves applying multiple layers of powdered clay known
as jinoko* mixed with ki urushi* (raw urushi). A mixture containing relatively coarse clay
particles is applied first, followed by layers containing successively finer particles. There areways of making urushi-based foundations using fewer layers, but the result is not as strong asa traditional urushi shitaji*. There are also foundations that do not incorporate urushi at all,but they are weak and tend to break away from their substrate.

V. Tools and materials

10. Shitaji (foundation [material])

IV. Decorative techniques
other than maki-e

9. Shibo urushi (urushi mixed with viscous materials)

III. Maki-e

One type of lacquering. Techniques of surface decoration. The techniques can generally
be divided into those of kyūshitsu* (applying urushi) and those of maki-e* (lit. sprinkled
picture) decoration. Lacquerware of the former type are extensive in variety and include
the use of a highly viscous urushi known as shibo urushi*, another technique using sabiurushi*, and another employing stencils. There is also a wide range of techniques related
to maki-e* such as that using thin shell fragments or eggshell, another involving tin foil,
and others that make use of plant seeds, hemp palm, pine needles, shredded tobacco andthe like. These various techniques were often used in lacquering saya (sheaths) for swords,
hence they are also known as saya nuri or sheath lacquering. Many regional lacquerwares,
such as tsugaru nuri and wakasa nuri, are well-known for being made using techniques ofthis kind.

II. Kyūshitsu

8. Kawari nuri (special lacquering in a variety of types), also known
as saya nuri (sheath lacquering)

I. Urushi

7. Byakudan nuri (lit. sandalwood lacquering)

13

Ⅰ漆

11 漆 下地
漆を用いて調合する下地＊。基本的には生漆＊に地の粉＊あるいは砥の粉＊という下地土を混和して固い層を作る作業をいう。混合する下地土の種類や方法によって名称が異なる。日本の漆器は木材を素地に用いることが多い。その木地の素材が柔らかい場合、表面を固くし仕上がり面を整える作業を行う。刻 苧＊で傷を埋め、麦漆＊や糊 漆 ＊を用い麻布を貼る布着Ⅱ 髹漆

せ＊作業まで含める。漆に混ぜる地の粉はかつて全国で採れたが、現在は京都あるいは輪島から産出する地の粉が用いられている。混合する方法によって基本的に本地＊・蒔地＊・本
堅 地＊と3 種類に分けられる。
どの下地方法も粒子の粗い地の粉から徐々に細かい粒子へ
その下地作業をと、数回に分けて下地層をつくる。地の粉を用いて造られた下地層を
「地」、
と呼ぶ。
「地付け」

Ⅲ 蒔絵
Ⅳ 蒔絵以外の装飾

12 堅地
漆下地＊の一つ。漆下地の中では最も硬い、地の粉＊と生漆＊を混合して下地層を作る技法。調合あるいは作業方法により、本地＊・蒔地＊・本堅地＊の3種類に分けられる。

13 本地
Ⅴ 道具・材料

堅地＊の一つ。堅地の中でも最も硬いと言われている。地の粉＊に生漆＊を練り込みペースト状にした下地で、器物に篦付けして下地層をつくるが、扱いが難しい。漆が多く入るため、漆風呂＊に入れて硬化させる。完全硬化には1 層ごとに数日掛かるが、硬化後は硬い下地層が得られる。

Ⅵ 素地

14

A type of kataji* (lit. hard base). Honji is said to be the hardest kind of kataji* foundation. It
is made by applying to the substrate by spatula a paste consisting of ki urushi* (raw urushi)
mixed with jinoko* clay powder. While producing a robust foundation, the clay-urushi paste
has the disadvantage of being difficult to work with. Because of its high urushi content,
hardening requires the use of an urushiburo* cabinet. Hardening of each layer can takeseveral days, but the resulting foundation coating is very robust.

V. Tools and materials

13. Honji (lit. true base)

IV. Decorative techniques
other than maki-e

A category of urushi shitaji* (urushi-based foundation). The term refers to the production of
hard shitaji* foundations using mixtures of jinoko* clay powder and ki urushi* (raw urushi).
Depending on the constitution of the mixture and the method of application employed,
kataji can be divided into three types, namely honji* (lit. true base), makiji* (lit. sprinkledbase) and honkataji* (lit. true kataji).

III. Maki-e

12. Kataji (lit. hard base)

II. Kyūshitsu

Making and applying shitaji* foundation material containing urushi. The term urushi shitaji
refers to the process of creating strong foundation coatings using ki urushi* (raw urushi)
mixed with one or both of two kinds of powdered clay called jinoko* and tonoko*. Different
names are used for urushi shitaji depending on which powdered clays are used and themethods of their application. Wooden substrates are common in Japanese lacquerware. If
the wood is of a soft variety, a process is carried out to harden and smooth its surface. Flaws
in the timber are filled with kokuso* (urushi-based putty), after which hemp cloth is pasted
on using mugi urushi* (urushi mixed with flour paste) or nori urushi* (urushi mixed withrice glue). This process is called nunokise* (cloth pasting). In the past, jinoko* could be foundanywhere in Japan, but nowadays the jinoko* used for lacquerwork comes from either Kyoto
or Wajima. The first and most important urushi shitaji foundation coating can be made in
one of three different ways. Known collectively as kataji* (lit. hard base), these are honji* (lit.
true base), makiji* (lit. sprinkled base) and honkataji* (lit. true kataji). Regardless of whichof these three methods is used, it is usual to apply several layers of foundation material
starting with a first layer containing relatively coarse particles of jinoko* and subsequent
layers containing increasingly finer particles. An urushi shitaji made of layers containing
only jinoko* is known as a ji (primary foundation coating), and the process of making it iscalled jitsuke (applying a primary foundation coating).

I. Urushi

11. U rushi shitaji (urushi-based foundation [material], i.e. foundation[material] containing urushi)

VI. Substrates

15

Ⅰ漆

14 蒔地
堅地＊の一つ。生漆＊を漆刷毛＊で薄く塗り、すぐに地の粉＊を蒔いてしみ込ませる。漆が多く入るため、漆風呂＊に入れて硬化させる。完全硬化には1 層ごとに数日掛かるが、硬化後は１回の下地層の厚みが薄くなるため、本地に比べ下地
本地＊と同じ硬い下地層が得られる。
の回数が1〜2回多く必要となるが、下地厚は平均に付く。

Ⅱ 髹漆

15 本堅地
堅地＊の一つ。水練りした京都の地の粉＊と生漆＊を混合した下地＊。輪島地の粉の場合は米糊を加え練り合わせて生漆と混合し、器物に篦付けして下地層をつくる。水分や糊分が加わⅢ 蒔絵

るため本地に比べて扱いやすく、漆風呂＊には入れず硬化させる。本地＊や蒔地＊に比べ若干柔らかく、そのため下地研ぎの効率も良い。ある程度の下地層の硬さも得られるため、現在の漆器下地の多くはこの方法が一般的である。

Ⅳ 蒔絵以外の装飾

16 切粉地漆下地＊の一つ。地の粉＊と水練り砥の粉＊と生漆＊を混合（切粉）
させた下地＊。地に比べ砥の粉が加わる分、細かな粒子の下地層が得られるため、地付けの次の作業に行なわれることが多い。切粉を施す作業を「切粉付け」という。

Ⅴ 道具・材料

17 錆地
漆下地＊の一つ。水練りした砥の粉＊と生漆＊と混合した錆漆を用いる下地＊。砥の粉の粒子が細かいため、下地層は厚く付けられない。下地層の肌理を整えるために下地の最終作業として行われることが多い。錆漆を施す作業を
「錆付け」
という。

Ⅵ 素地

16

15. Honkataji (lit. true kataji)

17. Sabiji

VI. Substrates

A type of urushi shitaji* (urushi-based foundation). Sabiji is a shitaji* foundation made fromsabi urushi, which is a paste of tonoko* powder and water mixed with ki urushi* (raw urushi).
Because tonoko* is extremely fine, sabi urushi can only be applied in thin layers. Sabiji isusually applied as a last foundation coating in order to provide as smooth a final surface aspossible. The process of applying sabi urushi is called sabitsuke (lit. applying sabi).

V. Tools and materials

A type of urushi shitaji* (urushi-based foundation). Kirikoji is a shitaji* foundation
made using kiriko, which is a paste of tonoko* powder and water mixed with ki urushi*(raw urushi) and further blended with jinoko* clay powder. The use of tonoko* results ina foundation that is more finely grained than ji (primary foundation coating made using
only jinoko*, see urushi shitaji*). Kirikoji is usually applied on top of the ji as a secondary
foundation coating. The process of applying kiriko is called kirikotsuke (lit. applying kiriko).

IV. Decorative techniques
other than maki-e

16. Kirikoji

III. Maki-e

A type of kataji* (lit. hard base). Honkataji is a foundation made with a paste of water andjinoko* clay powder from Kyoto mixed with ki urushi* (raw urushi). Jinoko* from Wajima
is made into a paste with rice glue instead of water, and then mixed with ki urushi*. The
foundation material is applied to the substrate with a spatula to form the shitaji* foundation
layers, the water or glue in the mixture making it easier to handle than the dry clay powder
and ki urushi* mix used in the case of a honji* (lit. true base) foundation. The relatively
high water content also means hardening will take place without the use of an urushiburo*cabinet. Because honkataji foundation layers are slightly less hard than their honji* or
makiji* (lit. sprinkled base) counterparts, it takes less time to abrade them. This and the factthat a honkataji foundation coating is acceptably robust have led to honkataji becoming themost commonly used of the three kataji* methods in Japan today.

II. Kyūshitsu

A type of kataji* (lit. hard base). Ki urushi* (raw urushi) is applied thinly with anurushibake* brush, after which jinoko* clay powder is immediately sprinkled on so that it
saturates the ki urushi*. Because of the high urushi content, hardening requires the use of an
urushiburo* cabinet. Hardening of each application can take several days, but the result isa foundation similar in robustness to a honji* (lit. true base) foundation. Since each layer isrelatively thin, one or two applications more than the number used for a honji* foundation
are needed. The resulting foundation coating is uniform in thickness even on an unevensurface.

I. Urushi

14. Makiji (lit. sprinkled base)

17

Ⅰ漆

18 真塗
漆塗技法の一つ。下地＊を堅地＊法で行い、下塗・中塗を施し、上塗に黒漆を用いて塗立＊で仕上げる技法。総黒ともいう。

Ⅱ 髹漆

19 漆 濾漆塗工程の一つ。漆塗を行う前に、濾紙＊を用いて漆に混入している塵などを取り除く作業。

Ⅲ 蒔絵
漆濾
Urushi koshi (filtering urushi)

Ⅳ 蒔絵以外の装飾

20 摺 漆
漆塗工程の一つ。塗膜の強度を高める目的で、塗面に生漆＊を摺込み、余分な漆は全て拭取る技法。蝋色仕上げ＊の工程で胴擦＊後の塗膜表面の微細な傷を浅くするために行う。あこの作業により、油や水の浸透を抑制
るいは、微粒子の蒔絵粉＊の粉 固め作業の際に行う。
することが出来る。

Ⅴ 道具・材料

21 拭 漆漆塗技法の一つ。作業は摺漆＊の作業を繰返し行う。木地の上に摺漆を行い、吸込みが止まった後も数回から十数回、繰返し行うことで、艶を増し木目を美しく仕上げる技法。

22 塗立（花塗・塗放し）
Ⅵ 素地

18

漆塗技法の一つ。上塗をしたままで仕上げとする技法。刷毛目が無く、埃 を入れずに均一の厚さに塗る必要があり、熟練の技術を必要とする。

A method of lacquering in which lower (shitanuri) and middle (nakanuri) urushi coatings
are applied to a foundation made using the kataji* (lit. hard base) method followed by theapplication of an upper (uwanuri) coating of black urushi that is left unpolished (nuritate*).
This method is also known as sōkuro and sōguro (lit. completely black) since all the surfaces
are coated in black urushi.

A lacquering procedure. To filter urushi with koshigami* (filter paper) in order to remove
dust and other impurities before lacquering.

II. Kyūshitsu

19. Urushi koshi (filtering of urushi)

I. Urushi

18. Shin nuri

III. Maki-e

A lacquering procedure. Suri urushi is a consolidation and strengthening process in which ki
urushi* (raw urushi) is rubbed onto an urushi surface, after which any excess is wiped away.
It is used to fill small scratches resulting from the use of dōzuri* polishing during the roiro
shiage* finishing procedure. It is also used to consolidate surfaces that have been sprinkledwith fine maki-e fun* powder in a procedure called fungatame (lit. powder hardening). Suriurushi protects surfaces on which it has been used from penetration by oil and water.

A method of lacquering in which the suri urushi* (lit. urushi rubbing) process is carried out
repeatedly on the surface of a wooden object. Urushi continues to be applied by up to ten or
more times after absorption by the wood has stopped. The purpose is to create a glossy finish
that enhances the beauty of the wood grain.

A lacquering procedure. This is a finishing technique in which the final upper (uwanuri)
urushi coating is left as it is without polishing. This requires the utmost skill since itnecessitates applying a coating of uniform thickness without leaving brush marks or any
specks of dust.

VI. Substrates

22. Nuritate, also known as hananuri, nurihanashi, nurippanashi(unpolished finish)

V. Tools and materials

21. Fuki urushi (lit. wiped urushi)

IV. Decorative techniques
other than maki-e

20. Suri urushi (lit. urushi rubbing)

19

Ⅰ漆

23 蝋色仕上げ（蝋色塗）
漆塗技法の一つ。蝋色漆＊で上塗した面を傷が深く入らないように研炭＊で平滑に研ぎ、その後は菜種油と砥の粉＊を混和した油砥の粉で肌を整える胴擦＊を行い、生漆＊による摺漆＊を重ねた後、角粉＊の微粉と菜種油により磨き仕上げる技法。真黒な鏡面仕上げは漆黒と呼ばれるほど品格のある艶のある仕上がりとなる。基本的には黒漆仕上げであるが、木地Ⅱ 髹漆

蝋漆（透漆＊）や朱漆（朱漆塗＊を参照）などで仕上げる場合もある。

24 刻苧
木地欠損部の充填や接合部の補強に用いる下地＊材料。生漆＊に固く水練りした小麦粉を
Ⅲ 蒔絵

混和し、
そこに木粉（刻苧粉）や麻の繊維の粉末（刻苧綿）を加えたもの。それを凹部に充填し木地面をあらかじめ整える。

25 布着せⅣ 蒔絵以外の装飾

漆下地＊技法の一つ。漆器の木地接合部の補強や木目痩を防ぐ目的で、布を麦漆＊あるいは糊漆＊で貼付ける技法。器物全面に布を貼ることを総 布着せ、角や縁など部分的に布を貼ることを筋 布着 せと呼ぶ。主に麻布が使用される。絹布を用いる場合もあるが、木綿は漆を含むと脆くなるため適さない。補強目的以外に変塗＊として布目を見せる仕上げにも用いられる。

Ⅴ 道具・材料

26 麦 漆
生漆＊に小麦粉を混合したもの。小麦粉は少量の水を加え固練りにして用いる。接着力が非常に強く、耐水性があり、経年による劣化がおきにくい。木材をはじめ貝・金属・陶磁器などの接着に用いる。木地補強のための布着せ＊にも用いる。また麻繊維や木粉などと混合

Ⅵ 素地

20

し、刻苧＊という充填剤として傷を塞ぐために用いる。漆工文化財修理の塗膜接着にも使用される。

II. Kyūshitsu

A lacquering procedure. Roiro shiage begins with the abrading of the surface of a roirourushi* upper (uwanuri) urushi coating with togisumi* charcoal to make it smooth andeven, care being taken not to make any deep scratches. This is followed by several cycles ofdōzuri* polishing using abura tonoko (a mixture of rapeseed oil and tonoko* powder) andsuri urushi* (lit. urushi rubbing) surface consolidation using ki urushi* (raw urushi). The
final step is polishing with rapeseed oil and fine tsunoko* powder. The elegant, mirror-likeblack finish is known as shikkoku (lit. urushi black). Although most commonly used withblack urushi, roiro shiage can also be employed with kijiro urushi* (transparent urushi) andshu (vermilion) urushi (see shu urushi nuri*).

I. Urushi

23. R
 oiro shiage (roiro finish or finishing), also known as roiro nuri
(roiro lacquering)

24. Kokuso (urushi-based putty)
III. Maki-e

Shitaji* foundation material used to strengthen the joints of a wooden substrate and to makeits surface smooth by filling any flaws and imperfections. It is made by mixing ki urushi* (rawurushi) with a hard paste of flour and water, and then adding wood powder (kokusofun) or
pulverised hemp fibre (kokusowata).

25. Nunokise (cloth pasting)

VI. Substrates

Ki urushi* (raw urushi) mixed with a hard paste of flour prepared with only a small amountof water. Mugi urushi has highly adhesive properties, is waterproof and deteriorates little
over time. It is used as an adhesive for wood, shell, metal and ceramics. It is also used in
the nunokise* cloth-pasting procedure for strengthening wooden substrates. Mixing mugi
urushi with pulverised hemp fibre or wood powder makes kokuso*, which is used for filling
scratches and areas of damage. Mugi urushi* is also used as an adhesive to attach liftingareas of urushi coatings when repairing cultural properties.

V. Tools and materials

26. Mugi urushi (urushi mixed with flour paste)

IV. Decorative techniques
other than maki-e

An urushi shitaji* (urushi-based foundation) procedure. Nunokise involves pasting piecesof cloth onto a wooden substrate with mugi urushi* (urushi mixed with flour paste) or noriurushi* (urushi mixed with rice glue) in order to reinforce joints and minimize shrinkageof the timber. Pasting pieces of cloth over the entire surface of the substrate is referred toas sōnunokise (overall cloth pasting); pasting pieces of cloth only on vulnerable areas suchas corners or edges is called sujinunokise (strip-cloth pasting). Hemp cloth is the main typeused. While silk cloth is sometimes utilised, cotton cloth is not suitable as urushi weakens
it. Apart from strengthening, the nunokise technique is also used for a type of kawari nuri*(special lacquering in a variety of types) in which the texture of the fabric shows through tothe finished surface.

21

Ⅰ漆

27 糊 漆生漆＊に米 糊（姫 糊）を混合したもの。米糊は米粉を水に溶いて撹拌しながら火に掛けて作る。麦漆＊は強いが粘性が高く扱いにくいことから、接着力は下がるが柔らかく扱いやすい
糊漆が多く用いられる。布着せ＊以外にも柔らかく調合して和紙貼りにも用いる。

Ⅱ 髹漆

28 焼付法（高温硬化）
漆硬化法の一つ。漆は常温では高湿度環境で硬化するが、摂氏 40 度を超えると硬化しな
この場合、湿度は必要なく、温度が上がくなる。
しかし、摂氏 80度を超えると再び硬化する。
るほど短時間で硬化する。常温硬化法に比べ、金属に対する付着力が高く、硬度も増し堅牢な塗膜となるため、金胎・陶胎の最初の工程で用いる。

Ⅲ 蒔絵

29 胴擦
蝋色仕上げ＊工程の一つ。艶上げ＊作業の前の工程。蝋色炭（研炭＊を参照）による上塗研ぎを施した後、砥の粉と菜種油を混合したものを布に付け、研 面を磨く技法。炭研ぎによる塗Ⅳ 蒔絵以外の装飾

膜表面の傷を消して滑らかに整える。

30 艶上げ蝋色仕上げ＊工程の一つ。胴擦＊・摺漆＊を重ねた後、菜種油と角粉＊もしくは代用の微細粉を少量、指先や掌に付け塗膜表面を磨いて最終仕上げを行い、艶を出す。

Ⅴ 道具・材料
Ⅵ 素地

22

Ki urushi* (raw urushi) mixed with rice glue (himenori). Rice glue is made from rice flour
stirred with water over heat. Although mugi urushi* (urushi mixed with flour paste) is highlyadhesive, it is so viscous that it is difficult to work with. Nori urushi*, which is less adhesive
but also softer and easier to handle, is often used instead. Besides being used for nunokise*
cloth-pasting, it is suitable for use with Japanese washi paper if prepared as a softer mixture.

29. Dōzuri

30. Tsuyaage (bringing out the shine)

V. Tools and materials

A process in the roiro shiage* (roiro finishing) procedure. After repeated rounds of dōzuri*
polishing and suri urushi* (lit. urushi rubbing) surface consolidation, a final (uwanuri)
urushi surface is polished to a high gloss using rapeseed oil and a small amount of either
tsunoko* (deer antler powder) or an alternative superfine abrasive powder. The polishing isdone using fingertips or the palm of a hand.

IV. Decorative techniques
other than maki-e

A process in the roiro shiage* (roiro finishing) procedure. It is carried out before thetsuyaage* (bringing out the shine) process and after a final (uwanuri) urushi surface has
been abraded with roirozumi charcoal (see togisumi*). It involves polishing the urushi
surface with a mixture of tonoko* powder and rapeseed oil using a piece of cloth. The aim
is to remove scratches caused by charcoal abrasion and smooth the surface of the urushi
coating.

III. Maki-e

A method of hardening urushi. Urushi cures at room temperature if the humidity is very high,but will stop hardening when the temperature reaches 40°C. At 80°C, however, urushi will start
to harden again. In this case humidity is not necessary, and the higher the temperature, theshorter the time required for the urushi to cure. Compared to hardening at room temperature, theadhesion of urushi to metal is greater using this method and the coating is harder and stronger. It
is therefore the preferred method for applying urushi to a metal or ceramic substrate.

II. Kyūshitsu

28. Yakitsukehō, also known as kōon kōka (high-temperature
hardening method)

I. Urushi

27. Nori urushi (urushi mixed with rice glue)

VI. Substrates

23

Ⅰ漆

Ⅲ 蒔絵（23項目）
日本の漆工芸の代表的な装飾技法。日本産漆の透明度の高さ、接着力の強さを活かした技法。初源は明らかではないが、現時点で日本以外では確認されていないことから、1200
年以上をかけて日本独自に発達した技法と考えられている。

Ⅱ 髹漆

1 蒔絵
漆塗面に漆で文様を描き、その漆が固まらないうちに金銀などの金属粉（蒔絵粉＊）を蒔き付け、硬化後、漆で固め、研磨して仕上げる。蒔絵は文様を描く技法。広義では広い面を漆で塗り、全面に蒔絵粉を蒔く、いわゆる地蒔＊も含まれる。蒔絵粉は金属塊を鑢 で削り下して加工したものである。主な種類は、鑢で削り下ろしたままのものを鑢 粉 、それを丸く球体にしⅢ 蒔絵

さらに薄く延ばし反り返った形状のものをたものを丸 粉、丸粉を平たく延ばしたものを平目粉 、梨 子 地 粉など、加工形状によって名称がつけられている。蒔絵は、工程上から研出蒔 絵＊・
平蒔絵＊・高蒔絵＊の3 種類の基本的技法に分けられる。応用技法として肉 合 研出蒔 絵＊・
研 切 蒔 絵＊・木地蒔絵＊などがある。さらに、蒔絵表現を豊かにするため、付 描＊・描 割＊・

Ⅳ 蒔絵以外の装飾

針 描＊・蒔 暈し＊等の技術を併用する。地蒔には沃 懸 地＊・金 地＊・平目地＊・梨子地＊など、蒔絵粉の形状等により名称が付けられている。また蒔き方により、詰 蒔き＊・淡 蒔き＊・蒔 暈し＊・さら
斑 蒔きなどの名称が付けられている。これらの技法は単独あるいは複合的に用いられ、に螺 鈿＊・平 文＊・切 金＊・各種埋 物（珊 瑚・玉 石・彫金・陶磁）なども併用される。蒔絵粉には金・銀以外に、銅・錫・鉛・白金などの金属粉、青金・赤銅などの合金粉がある。

Ⅴ 道具・材料
Ⅵ 素地

24

蒔絵螺鈿小箪笥「青松」 室瀬和美作
Kodansu cabinet, Newly Sprouting Pine, maki-e decoration withshell inlay (raden), Murose Kazumi (b.1950), 2006

The most representative decorative technique of Japanese urushi art. It takes advantage ofthe great transparency and adhesive qualities of urushi obtained and processed in Japan. The
origins of maki-e are not clear. To date the technique has not been identified anywhere otherthan in Japan, where it has developed exclusively over some 1,200 years.

III. Maki-e
IV. Decorative techniques
other than maki-e
V. Tools and materials

A design is painted in urushi on a lacquered surface and, before the urushi hardens, metal
powder (maki-e fun*) such as gold or silver is sprinkled onto it. After hardening, the powder
is fixed by applying urushi over it. Abrading and polishing complete the process. Maki-e
is a way of producing pictorial designs using urushi and sprinkled powder. In its broadest
sense maki-e includes the method known as jimaki* (lit. sprinkled ground) whereby urushi
is applied to a large area over all of which maki-e fun* powder is sprinkled on. Maki-e fun*powder is made by shaping filings ground from metal ingots. The main types of maki-e fun*powder are named according to their shape. They include unprocessed yasurifun (metal
filings); marufun (lit. round powder) which is yasurifun shaped into spheres; hiramefun(flat oval powder) made from marufun flattened into ovals; and nashijifun (powder used
for nashiji* (lit. pear skin ground)) made from hiramefun further flattened and rolled so as
to curl at the edges. There are three main types of maki-e: togidashi maki-e* (polished-out
maki-e), hiramaki-e* (low relief maki-e) and takamaki-e* (high relief maki-e). Variations ofthese include shishiai togidashi maki-e* (high relief polished-out maki-e), togikiri maki-e*
and kiji maki-e* (maki-e on wood ground). Additional techniques used to broaden theexpressive possibilities of maki-e include tsukegaki* (line drawing), kakiwari* (depicting
lines by leaving a gap), harigaki* (lit. needle drawing) and makibokashi* (sprinkling to
produce shading). Jimaki* techniques include ikakeji*, kinji* (lit. gold ground), hirameji* (flatoval powder ground) and nashiji*. The different types of jimaki ground are called after the
shapes of the powder used. The nomenclature can also include the terms used to describe thesprinkling techniques used to create them. Examples include tsumemaki* (dense sprinkling),
usumaki* (sparse sprinkling), makibokashi* and muramaki (uneven sprinkling). All themaki-e techniques listed above, from togidashi maki-e down to muramaki, can be employedon their own, in combination with others or together with raden* (shell inlay), hyōmon*(metal sheet inlay), kirikane* (cut foil) and the incorporation of other materials such as coral,
semi-precious stones, carved metal and ceramics. In addition to gold and silver, maki-e fun*powder can be made from other metals such as copper, tin, lead and platinum, as well asfrom metal alloys such as aokin (gold and silver alloy) and shakudō (copper and gold alloy).

II. Kyūshitsu

1. Maki-e (lit. sprinkled picture)

I. Urushi

III. Maki-e (23 entries)

VI. Substrates

25

Ⅰ漆

2 研出蒔絵
蒔絵＊技法の一つ。最も初期に完成した技法。漆の中塗研ぎ面に漆で文様を描き、その漆が固まらないうちに金銀等の粗粒子の蒔絵粉＊を蒔き、硬化後に漆で蒔絵粉の上だけを固着させる（粉固め）。その後、全面に漆を塗り込め、硬化後に研炭＊により文様を研ぎ出す。粉が特に粗いⅡ 髹漆

場合はこの作業を繰返し、最後に胴擦＊、艶上げ＊を行い、仕上げる。平目地＊・梨子地＊等の地蒔も作業
工程上は研出蒔絵＊と同様である。
梅蒔絵手箱（三嶋大社）（部分）
Togidashi maki-e, detail from cosmetic box with maki-ethdecoration, 13 century, Mishima Taisha Shrine

Ⅲ 蒔絵

3 平蒔絵
蒔絵＊技法の一つ。仕上った漆面に漆で文様を描き、その漆が固まらないうちに金銀等の細粒子の蒔絵粉＊を蒔き、硬化後に蒔絵粉の上だけを摺漆で固着させる（粉固め）。その漆が硬化した後、蒔絵粉の部分のみを（艶上げ＊と同じ方法で）磨いて仕上げる。若干粗めの蒔絵粉を用い

Ⅳ 蒔絵以外の装飾た場合は、蒔絵粉の表面のみを研炭＊で研いでから（艶上げと同じ方法で）磨いて仕上げる。
梅蒔絵手箱（三嶋大社）（部分）
Hiramaki-e, detail from cosmetic box with maki-ethdecoration, 13 century, Mishima Taisha Shrine

Ⅴ 道具・材料

4 高蒔絵
蒔絵＊技法の一つ。蒔絵を行う文様部分を、あらかじめ高く盛上げ、立体的に見せる技法。
高上げには、炭粉・地の粉＊・砥の粉＊・錫粉・漆などを用いる。必要な高さに上がった後、漆を塗重ね、肌を整える。その後、地塗＊を行い金銀な（艶
どの蒔絵粉＊を蒔き、粉固め・粉研ぎ・胴擦・磨きⅥ 素地

を経て仕上げる。平蒔絵＊と同様に上げ＊と同じ方法）
地が仕上がった後に行う蒔絵なので、周辺の地を傷つけない様に養生しながら研ぎを行う必要がある。
梅蒔絵手箱（三嶋大社）（部分）
Takamaki-e, detail from cosmetic box with maki-ethdecoration, 13 century, Mishima Taisha Shrine

26VI. Substrates

A maki-e* (lit. sprinkled picture) technique. Prior to decoration, the surfaces of the design
are raised in relief using materials such as sumiko (charcoal powder), jinoko* powder,
tonoko* powder, suzufun (tin powder) and urushi. Once this has been completed, urushi
is applied in several layers to smooth the surfaces of the design. In the next step, known as
jinuri* (lit. ground lacquering), urushi is applied over the areas of the design, after whichmaki-e fun* powder of gold, silver or another material is sprinkled on. This is followed byfungatame, whereby urushi is applied to the sprinkled powder to consolidate it. Funtogi(abrading the area sprinkled with powder) is then undertaken using togisumi* charcoal,
after which dōzuri* polishing and tsuyaage* (bringing out the shine) are carried out. As withhiramaki-e*, takamaki-e is undertaken on a finished urushi surface, so care has to be taken
to cover the undecorated areas to prevent damage when funtogi abrading is carried out.

V. Tools and materials

4. Takamaki-e (high relief maki-e)

IV. Decorative techniques
other than maki-e

A maki-e* (lit. sprinkled picture) technique. A design is painted in urushi on a finishedurushi surface and then, before it hardens, fine maki-e fun* powder of gold, silver or anothermaterial is sprinkled over it. After hardening, suri urushi* (lit. urushi rubbing) is carried out
on the sprinkled powder to consolidate it (fungatame). Once this has hardened, polishing(see tsuyaage*) is carried out on just the areas on which powder has been sprinkled. Whenslightly coarser maki-e fun* powder is used, the areas on which powder has been sprinkled isfirst abraded with togisumi* charcoal, and then polished (see tsuyaage*).

III. Maki-e

3. Hiramaki-e (low relief maki-e)

II. Kyūshitsu

A maki-e* (lit. sprinkled picture) technique. It was the earliest maki-e* technique to havebeen fully developed. A design is painted in urushi on the abraded surface of a middle(nakanuri) urushi ground and then, before it hardens, coarse maki-e fun* powder of gold,
silver or another material is sprinkled over it. After hardening, urushi is applied to thesprinkled powder to consolidate it (fungatame). The entire surface is then coated with urushi,
which covers over and seals the design. Once this has hardened, the surface is abraded withtogisumi* charcoal so that the design reappears. When the powder is particularly coarse,
the process of sealing with urushi and abrading is repeated. Finishing is carried out using
dōzuri* polishing and tsuyaage* (bringing out the shine). The production processes ofjimaki* (sprinkled ground) such as hirameji* (flat oval powder ground) and nashiji* (lit. pear
skin ground) are the same as those of togidashi maki-e.

I. Urushi

2. Togidashi maki-e (polished-out maki-e)

27

Ⅰ漆

5 肉合研出蒔絵
蒔絵＊技法の一つ。研出蒔絵＊と高蒔絵＊を併用した技法。漆の中塗研ぎ面に下地や漆などで肉取りを行うが、高蒔絵＊と異なり高上げの一方をスロープ状にして、地に繋がるように造形する。その後、高上げ部分を中塗り研ぎまで進め、地から高上げ部にかけて同時に研出
蒔絵＊を施す。平面と立体が溶け込んだ表現に仕上がる。

Ⅱ 髹漆

6 研切蒔絵
蒔絵＊技法の一つ。金地＊や銀地に墨絵風に黒の濃淡で文様を表す技法。漆で文様を描
き、蒔絵粉＊と同じ粒子に揃えた硬い炭粉や乾漆粉＊などを蒔付ける。暈し部分は蒔絵粉と黒色粉を混合して蒔く。硬化後に粉固めを行う。その後、全面に地塗＊し、金銀等の蒔絵粉を

Ⅲ 蒔絵

詰蒔く
（詰蒔き＊を参照）。粉固め、塗込み後、研炭＊で研ぎ出し金地あるいは銀地を研ぎ付けることにより、
あらかじめ黒色に蒔いた文様が同一面に研ぎ出され、墨絵風に仕上がる。

Ⅳ 蒔絵以外の装飾

7 木地蒔絵
蒔絵＊技法の一つ。一般的に蒔絵は漆塗膜の上に施されるが、漆塗りを行わず白木地上に直接蒔絵を施す技法。木地を汚さない様に糊や錫の薄板で養生を行い、文様部分のみ錫の薄板を刃物で切り取る。その木地が出た部分の糊分を取り除き、下地＊を施し、漆塗りを重Ⅴ 道具・材料
Ⅵ 素地

28

ね、蒔絵を行う。蒔絵の終了後に地に貼られている薄板を剥がし、木地面を綺麗に掃除して仕上げる。

天井画「桜樹木地蒔絵」復元制作（金刀比羅宮）（部分）
Kiji maki-e, detail of ceiling panel, 1999 facsimile of1878 original, Kotohiragū (Konpira) Shrine

6. Togikiri maki-e (also known outside Japan as sumi-e togidashi maki-e)

V. Tools and materials

A maki-e* (lit. sprinkled picture) technique. Although maki-e* is usually carried out onan urushi surface, in this technique the maki-e* decoration is applied directly onto wood.
In order to keep the surface of the wood clean, tin foil is glued over it and just the section
corresponding to where the design is intended to go is cut out and removed. Residual glue isremoved from the exposed area, after which a shitaji* foundation is made, urushi coatings
are applied and maki-e* decoration is carried out. The final step is to remove the remaining
tin foil and clean the wooden surface it was protecting.

IV. Decorative techniques
other than maki-e

7. Kiji maki-e (maki-e on wood ground)III. Maki-e

A maki-e* (lit. sprinkled picture) technique. The creation of a design in various tones of blackin the style of sumi-e (ink painting) on a kinji* gold ground or ginji silver ground. The design ispainted in urushi and sprinkled with hard sumiko (charcoal powder) or kanshitsufun* powder ofthe same grain size as the maki-e fun* powder being used. Mixtures of differing proportions ofmaki-e fun* and black powder (charcoal powder or kanshitsufun*) are used for the shaded areas.
After hardening, urushi is applied to the sprinkled powders to consolidate them (fungatame). In
the next step, known as jinuri* (lit. ground lacquering), an all-over coating of urushi is applied,
after which maki-e fun* of gold, silver or another material is densely sprinkled (tsumemaki*) on.
This is followed by fungatame and the covering over of the entire surface with urushi. Abradingwith togisumi* charcoal reveals the gold- or silver-sprinkled ground and the black design set
within it. Because the design and the ground are flush with one another, the appearance issimilar to that of a sumi-e ink painting.

II. Kyūshitsu

A maki-e* (lit. sprinkled picture) technique. The technique is a combination of togidashi maki-e*(polished-out maki-e) and takamaki-e* (high relief maki-e). Parts of the design are raised in relief on
the abraded surface of a middle (nakanuri) urushi ground using urushi or shitaji* foundation. Unlike
takamaki-e*, however, the raised areas are formed so that on one side they slope down towards
the ground. Lacquering is carried out on the raised areas up to the abraded nakanuri stage. This isfollowed by simultaneous togidashi maki-e* decorating of the raised areas and the ground so that thethree-dimensional and flat elements of the design merge into one another.

I. Urushi

5. Shishiai togidashi maki-e (high relief polished-out maki-e)

VI. Substrates

29

Ⅰ漆

8 地塗
蒔絵＊工程の一つ。蒔絵粉＊を蒔くために文様または地の面を漆で塗ること。薄く均一に塗る必要があるが、蒔絵粉の粒子の大きさにより地塗厚を変える。地塗に塗 斑があると蒔いた粉が斑に付いてしまうため、蒔絵用の地塗刷毛を用いる。文様や小さい面積の地には地を用いる。刷毛目や筆の跡が残らないように、漆の固さも調整が必
塗筆（蒔絵筆＊を参照）

Ⅱ 髹漆

要となる。

9 地蒔
蒔絵＊技法の一つ。蒔絵の文様以外の地に地塗＊を施し、蒔絵粉＊を蒔く技法。地蒔には沃懸地＊・金地＊・平目地＊・梨子地＊など粉の種類により名称がある。また、蒔き方によって
Ⅲ 蒔絵

詰蒔き＊・淡蒔き＊・蒔暈し＊・斑蒔きなどの名称がついている。作業工程上は研出蒔絵＊と同様である。

Ⅳ 蒔絵以外の装飾

10 沃懸地地蒔＊の一つ。地塗＊を施した面に、鑢粉（金属塊を鑢で削り下ろしたままの粉）あるいは鑢粉を若干丸めた形状の粉（古代粉）
を、全面に隙間なく蒔付け、粉固めを繰り返し、研炭＊で（艶上げ＊と同じ方法）を行い、仕上げる技法。蒔絵粉の粒子
研いで金色にし、胴擦＊と磨きが粗く、金地＊と異なり形状が不揃いである。

Ⅴ 道具・材料

11 金地
地蒔＊の一つ。地塗＊を施した面に、丸粉（蒔絵＊および蒔絵粉＊を参照）
を全面に隙間なく蒔（艶上げ＊と同じ方法）
を行付け、粉固めを繰り返し、研炭＊で研いで金色にし、胴擦＊と磨き

Ⅵ 素地

30

い、仕上げる技法。沃懸地＊との違いは、粒子の揃った丸粉を蒔いていることで、仕上がりは均一な金色である。銀粉を用いた場合は銀地という。

9. Jimaki (sprinkled ground)

11. Kinji (lit. gold ground)

VI. Substrates

A type of jimaki* (sprinkled ground). After urushi has been applied to the ground area using
the jinuri* (lit. ground lacquering) technique, marufun (gold filings shaped into spheres, see
maki-e* and maki-e fun*) powder is sprinkled on. Care is taken to thoroughly cover the wholearea to which urushi has been applied. After hardening, urushi is applied to the sprinkled
powder to consolidate it (fungatame). Fungatame is carried out several times. The surface
is then abraded with togisumi* charcoal to reveal the gold colour and finished by dōzuri*
polishing and tsuyaage* (bringing out the shine). Because the gold powder is of regular grain
shape and size, the gold finish is more even in appearance than that obtained by using theikakeji* method. The ground is called ginji (lit. silver ground) when silver powder is used.

V. Tools and materials

A type of jimaki* (sprinkled ground). After urushi has been applied to the ground area using
the jinuri* (lit. ground lacquering) technique, yasurifun (filings from a gold ingot, see maki-e*)
powder or yasurifun made slightly spherical (kodaifun) is sprinkled on. Care is taken tothoroughly cover the whole area to which urushi has been applied. After hardening, urushi
is applied to the sprinkled powder to consolidate it (fungatame). Fungatame is carried out
several times. The surface is then abraded with togisumi* charcoal to reveal the gold colourand finished by dōzuri* polishing and tsuyaage* (bringing out the shine). Because the gold
powder is coarse and of irregular grain shape, the gold finish is less even in appearance thanthat obtained by using the kinji* (lit. gold ground) method.

IV. Decorative techniques
other than maki-e

10. Ikakeji

III. Maki-e

A maki-e* (lit. sprinkled picture) technique. The technique involves using the jinuri* (lit.
ground lacquering) technique to apply urushi to areas of a surface other than those occupied by
the design, followed by sprinkling on of maki-e fun* powder. There are several types of jimaki
including ikakeji*, kinji* (lit. gold ground), hirameji* (flat oval powder ground) and nashiji* (lit.
pear skin ground). The different types of jimaki ground are called after the shapes of the powder
used. The nomenclature can also include the terms used to describe the sprinkling techniques
used to create them. Examples are tsumemaki* (dense sprinkling), usumaki* (sparse sprinkling),
makibokashi* (sprinkling to produce shading) and muramaki (uneven sprinkling). The
production processes of jimaki are the same as those of togidashi maki-e* (polished-out maki-e).

II. Kyūshitsu

A maki-e* (lit. sprinkled picture) process. To coat areas of a design or ground with urushi inpreparation for sprinkling on maki-e fun* powder. It is important to apply the urushi thinly
and evenly, adjusting the thickness of the coating according to the grain size of the maki-efun* being used. Because unevenness in the urushi layer leads to patchy distribution of thepowder sprinkled onto it, special flat maki-e brushes called jinuribake are used for applying
urushi to large areas of ground. Jinurifude (lit. ground lacquering brush, see maki-e fude*),which are round, are used for designs and smaller areas of ground. It is important to adjust theviscosity of the urushi so that no brush marks are left visible.

I. Urushi

8. Jinuri (lit. ground lacquering)

31

Ⅰ漆

12 平目地地蒔＊の一つ。地塗＊を施した面に、平目粉（蒔絵＊および蒔絵粉＊を参照）
を全面に蒔付け、（艶上げ＊と同じ方法）を行い、仕上げる技
塗込み、研炭＊で研いで金色にし、胴擦＊と磨き法。詰蒔く＊場合と若干淡く蒔く場合により、表情が変わる。

Ⅱ 髹漆

13 梨子地地蒔＊の一つ。地塗を施した面に、梨子地粉（蒔絵＊および蒔絵粉＊を参照）
を全面に蒔付を薄く数回に分けて塗込み、研炭＊で研いで胴擦＊と艶上げ＊
け、梨子地漆（透漆＊を参照）
を行い、仕上げる技法。蒔き方によって、詰 梨 子地・霞 梨 子地・鹿の子梨子地・雲梨子地・叢 梨 子地・刑 部梨子地などの名称がある。なお、刑部梨子地は大型の梨子地粉を蒔かず

Ⅲ 蒔絵に置き並べる。

（濃蒔）
14 詰蒔きⅣ 蒔絵以外の装飾

粉蒔き技法の一種。蒔絵粉＊の種類には関わり無く、文様あるいは地に蒔絵粉を隙間無く高い密度で蒔き詰めること。
地塗＊した面に蒔絵粉を蒔いた後、1 段階から2 段階細かな粉を蒔き足すと、粗い粉の間に細かな粉が隙間無く入り詰蒔くことが出来る。

詰蒔き
Tsumemaki (dense sprinkling)

Ⅴ 道具・材料（薄蒔）
15 淡蒔き粉蒔き技法の一種。蒔絵粉＊の種類には関わり無く、蒔絵文様以外の地に、粗くまばらに蒔き付けること。地塗＊した面に蒔絵粉を淡く均一に蒔くため、粉筒＊の使い方に高度な技を必要とする。

Ⅵ 素地

32

淡蒔き
Usumaki (sparse sprinkling)A type of jimaki* (sprinkled ground). After urushi has been applied to the ground area using
the jinuri* (lit. ground lacquering) technique, hiramefun (metal filings shaped into spheres
and then flattened into ovals, see maki-e* and maki-e fun*) powder is sprinkled all overthe surface. The surface is then abraded with togisumi* charcoal to reveal the gold colourand finished by dōzuri* polishing and tsuyaage* (bringing out the shine). Variation can beachieved by sprinkling less or more densely (tsumemaki*).

III. Maki-e

A type of jimaki* (sprinkled ground). After urushi has been applied to the ground area using
the jinuri* (lit. ground lacquering) technique, nashijifun (flattened and curled hiramefun, see
maki-e*) powder is sprinkled all over and then sealed with several thinly applied coatingsof nashiji urushi (urushi used for nashiji, see suki urushi*). The surface is then abraded withtogisumi* charcoal, and finished by dōzuri* polishing and tsuyaage* (bringing out the shine).
Depending on how the powder has been sprinkled on, the finished surface is called tsume(dense) nashiji, kasumi (lit. haze) nashiji, kanoko (spotted) nashiji, kumo (lit. cloud) nashiji
or mura (mottled) nashiji. In the case of gyōbu nashiji, large particles of nashijifun powder
are individually placed rather than sprinkled on.

II. Kyūshitsu

13. Nashiji (lit. pear skin ground)

I. Urushi

12. Hirameji (flat oval powder ground)

14. Tsumemaki, also known as koimaki (dense sprinkling)

A type of powder-sprinkling technique. Regardless of the type of maki-e fun* powder used,
this involves sparsely sprinkling powder onto a jinuri* lacquered ground while avoiding any
areas on which there is a maki-e* (lit. sprinkled picture) design. It takes enormous skill inthe use of the funzutsu* (powder tube) to sprinkle on powder both sparsely and evenly.

V. Tools and materials

15. Usumaki (sparse sprinkling)

IV. Decorative techniques
other than maki-e

A type of powder-sprinkling technique. Regardless of the type of maki-e fun* powder used,
this involves densely sprinkling powder onto a design or ground so that it is completely
covered. The sprinkling on of the first powder to jinuri* ground lacquered areas can befollowed by the use of a powder of a grain size one or two grades smaller to fill in the spaces
between the grains of the coarser powder.

VI. Substrates

33

Ⅰ漆

（ 暈 蒔き）16 蒔暈し粉蒔き技法の一種。蒔絵粉＊の種類には関わり無く、文様あるいは地に蒔絵粉を隙間無く蒔く部分から徐々に粗くまばらに蒔き付ける。暈す幅により粉筒＊の使い方が異なり、高度な技を必要とする。

Ⅱ 髹漆

蒔暈し
Makibokashi (sprinkling to produce shading)

17 蒔放し平蒔絵＊技法の一つ。平蒔絵は粉蒔後に粉固めを行い、磨いて仕上げるが、この場合は蒔いたままで仕上げとすることを言う。蒔放しの場合は微粒子の蒔絵粉＊を用いるか、消粉＊を
Ⅲ 蒔絵

用いる。

18 付描
蒔絵＊の線描きを表す技法の一つ。研出蒔絵＊や平Ⅳ 蒔絵以外の装飾

蒔絵＊の磨き仕上げが済んだ後、細部を表現するためにその上に線書きにより輪郭線や流水、葉 脈 などの表情を加える技法。粘性の高い絵漆＊で描くことにより、細く肉付けの高い蒔絵線を表現出来る。
梅蒔絵手箱（三嶋大社）（部分）
Tsukegaki, detail from cosmetic box with maki-e
decoration, 13th century, Mishima Taisha Shrine

Ⅴ 道具・材料

19 描割
蒔絵＊の線描きを表す技法の一つ。研出蒔絵＊や平
蒔絵＊の地塗＊の際、地との境界線や文様の重なる部分等の描きたい部分を塗り残し、粉蒔を行う。地塗がない部分には金粉がつかないため、黒い線を表

Ⅵ 素地

34

現できる。
梅蒔絵手箱（三嶋大社）（部分）
Kakiwari, detail from cosmetic box with maki-ethdecoration, 13 century, Mishima Taisha Shrine

A type of powder-sprinkling technique. Regardless of the type of maki-e fun* powder used,
this technique involves sprinkling powder onto a design or ground in such a way that there
is a gradual progression from completely covered to only sparsely covered areas of thesurface. Because the funzutsu* (powder tube) has to be used in different ways depending on
the size of the area being treated, a very high level of skill is required.

III. Maki-e

A hiramaki-e* (low relief maki-e) technique. Hiramaki-e* involves the sprinkling on of
powder, the application of urushi to the sprinkled powder to consolidate it (fungatame), andpolishing (see tsuyaage*). With makihanashi, the fungatame and polishing steps are omitted.
The technique uses either maki-e fun* powder of a very small grain size or keshifun*, asuperfine form of powdered gold.

II. Kyūshitsu

17. Makihanashi, makippanashi (lit. sprinkled and left as it is)

I. Urushi

16. Makibokashi, also known as bokashimaki(sprinkling to produce shading)

18. Tsukegaki (line drawing)

VI. Substrates

A technique to depict lines in maki-e* (lit. sprinkled picture) decoration. The technique isused when urushi is applied using the jinuri* (lit. ground lacquering) method during the
production of togidashi maki-e* (polished-out maki-e) and hiramaki-e* (low relief maki-e)
designs. It involves leaving gaps in the urushi coating that show up as black lines because thesprinkled on powder does not adhere to them. The technique is used to depict outlines andthe overlapping of motifs.

V. Tools and materials

19. Kakiwari (depicting lines by leaving a gap)

IV. Decorative techniques
other than maki-e

A technique to depict lines in maki-e* (lit. sprinkled picture) decoration. It is used onpolished (see tsuyaage*) and completed togidashi maki-e* (polished-out maki-e) or
hiramaki-e* (low relief maki-e) designs to depict small details such as the outlines of motifs,
flowing water and the veins of leaves. By using highly viscous e-urushi* it is possible to paintthin, raised lines on which to apply the maki-e* decoration.

35

Ⅰ漆

20 針描（引掻）
蒔絵＊に細線を表す技法。研出蒔絵＊や平蒔絵＊の粉
蒔き後、その漆が硬化しないうちに硬く先端の尖った
針・竹・鳥 羽 根 軸 等の道具を用い、粉蒔きの面を引っ掻いて黒い線を表す。描割＊の簡略表現として葉脈Ⅱ 髹漆などを描く際に用いる。箔絵＊に用いる場合もある。
葡萄蒔絵螺鈿聖餅箱（東慶寺）（部分）
Harigaki, detail from Nanban pyx withhiramaki-e decoration, late 16th to early 17th century,
Tōkeiji Temple

21 練描
Ⅲ 蒔絵

蒔絵＊の関連技法の一つ。蒔絵粉＊を透漆＊に練り合わせたものを用いて文様を描き、硬化後に（艶上げ＊と同じ方法で）磨いて仕上げる。消粉＊を膠 等に練り合わせて描く場合もある。
筆の勢いが直接表せる技法。

Ⅳ 蒔絵以外の装飾

22 絵 漆
蒔絵＊に用いる漆の一種。付描＊や詰蒔き＊の地塗＊を行う際に用いる漆。描きやすくするため、生漆＊をなやし＊、ベンガラを練り込み、黒地に対して明瞭な赤色の漆。付描に用いる場
合は固めに、地塗に用いる場合は柔らかめに調整する。置目＊にも用いる。

Ⅴ 道具・材料

23 置目
蒔絵＊をはじめとする装飾工程の一つ。文様の下図（原図）を器物面に転写すること。下図
その裏面から漆・絵漆＊あるいは水溶き顔を薄い和紙（薄 美 濃 紙・雁 皮 紙など）に写し取り、Ⅵ 素地

料などで描き起こす。その描いた面を漆面に置き、表面から擦り付けることで、下図が器物面に転写される。この和紙を「置目紙」、転写作業を「置目取り」という。置目紙を使用せず、という。
直接器物面に絵漆などで文様を描く場合を
「描置目」

36

II. Kyūshitsu

A technique to depict thin lines in maki-e* (lit. sprinkled picture) decoration. The technique
is used during the production of togidashi maki-e* (polished-out maki-e) or hiramaki-e*(low relief maki-e) designs. It involves scratching lines with hard, pointed implements suchas needles, bamboo sticks and feather shafts into areas of a powder-sprinkled surface before
the urushi onto which the powder has been applied hardens. It is a simplified version of
kakiwari* (depicting lines by leaving a gap) and is similarly used to depict details such as leaf
veins. The technique is also used when making haku-e* (lit. foil picture) designs.

I. Urushi

20. Harigaki (lit. needle drawing), also known as hikkaki (lit. scratching)

21. Nerigaki (paste drawing)

23. Okime (transferring of design drawing)

VI. Substrates

A preliminary stage in maki-e* (lit. sprinkled picture) and other methods of urushi
decoration. Transferring a design drawing onto the surface of an object. A design drawing
is first copied onto a sheet of Japanese washi paper such as thin mino or ganpi paper. Usingurushi, e-urushi* (lit. urushi for painting) or a mixture of pigment and water, the design istraced onto the reverse side of the paper. The sheet of paper is placed reverse side downwards
onto the urushi surface and then rubbed from behind so that the design is transferred onto
the object. The washi paper is referred to as okimegami and the process of transferring thedesign is called okimedori. Drawing a design in e-urushi* or an equivalent directly onto an
object without using paper is called kaki okime.

V. Tools and materials

A type of urushi used in maki-e* (lit. sprinkled picture) decoration. E-urushi is used
for drawing the lines in tsukegaki* (line drawing) and for lacquering areas of a design
or ground when the jinuri* (lit. ground lacquering) method is used prior to dense(tsumemaki*) sprinkling on of powders. It is made by mixing bengara (red ochre) with ki
urushi* (raw urushi) that has undergone nayashi* (mixing process) to make it smootherand easier to work with. It has a red colour that shows up clearly when painted on a black
ground. The e-urushi mixture is adjusted so as to be firmer when used for tsukegaki* andmore pliable when used for jinuri*. E-urushi is also used for okime* (transferring of design
drawing).

IV. Decorative techniques
other than maki-e

22. E-urushi (lit. urushi for painting, not to be confused with urushi-e*)

III. Maki-e

A technique related to maki-e* (lit. sprinkled picture) decoration. A design is drawn usinga paste of maki-e fun* powder mixed with suki urushi* (transparent urushi). After the
paste has hardened, the design is finished by polishing (tsuyaage*). In some cases a pasteof keshifun* powder mixed with nikawa (animal glue) or another adhesive is used. The
technique lends itself to displaying the liveliness of the brushwork used when a design isdrawn.

37

Ⅰ漆

Ⅳ 蒔絵以外の装飾（14項目）
蒔絵＊以外の装飾技法は、蒔絵と併用して用いられることが多い螺鈿＊・平文＊・卵殻＊などの技法、刃物を用いて表現する沈 金＊・彫 漆＊・蒟 醤＊・存 星＊などの技法、琉球地方で発展した堆錦＊・箔絵＊など、数多くの種類がある。

Ⅱ 髹漆

1 漆絵
漆工装飾技法の一つ。透漆＊に顔料を混和した色漆＊で文様を描く技法。漆装飾技法の中では最も古くから行われていると考えられる。近世以前は天然顔料が使われていたため、朱・緑色（雌黄＋藍）・黒色（油煙・松煙）の5色（硫化水銀）・褐色（ベンガラ）・黄色（雌 黄 ）Ⅲ 蒔絵色に限られていた。現在は合成顔料が普及し多くの種類の色漆が得られるようになった。

2 箔絵
漆工装飾技法の一つ。漆で文様を描き金・銀箔を貼付け文様を表す。さらに針描＊などで
Ⅳ 蒔絵以外の装飾

細部の文様を表現することも出来る。硬化後、摺漆＊で固め定着する。

3 蒔貝（微塵貝）
螺鈿＊技法の一つ。漆を地塗＊した上に、細かく砕いを蒔いて装飾する。硬化後、た薄貝（螺鈿＊を参照）
漆を塗り込めてから、研炭＊で研ぎ出した後、胴擦＊Ⅴ 道具・材料と艶上げ＊を行い仕上げる。貝が青く仕上がることから、青貝微塵ともいう。
蒔貝の作例
Makigai (lit. sprinkled shell)

4 密陀絵
Ⅵ 素地

絵画技法の一つで、油絵の一種。荏 油・桐 油・亜 麻 仁 油などの植物油を低温で長時間を加えることにより、さらに硬煮詰めると、乾燥性が高まる。乾燥剤として一酸化鉛（密 陀 僧 ）化が促進される。天然顔料の中で白色の鉛白や胡粉は、漆と混和すると黒変してしまうが、密陀油に混和すると白色を表せることから、白密陀が多く用いられる。

38

There are many decorative techniques other than maki-e* (lit. sprinkled picture) used in
the production of lacquerwork. These include raden* (shell inlay), hyōmon* (metal sheet
inlay) and rankaku* (eggshell), all of which are often used with maki-e*; chinkin* (lit. sunkengold), chōshitsu* (carved urushi), kinma* and zonsei*, techniques that all make use of tools
for incising and engraving; and tsuikin* (lit. piled brocade) and haku-e* (lit. foil picture) as
developed in the Ryūkyū Islands.

2. Haku-e (lit. foil picture)

3. Makigai (lit. sprinkled shell), also known as mijingai(lit. tiny flecks of shell)

V. Tools and materials

A raden* (shell inlay) technique. On a jinuri* (lit. ground lacquering) ground, finely crushed
pieces of usugai (lit. thin shell, see raden*) are sprinkled on. After hardening, the surface
is covered with several applications of urushi. This is then abraded with togisumi* charcoal
until the pieces of shell reappear. Finishing is carried out using dōzuri* polishing andtsuyaage* (bringing out the shine). Because of the way the shell takes on a blue colour, thetechnique is also known as aogai mijin (lit. tiny flecks of blue shell).

IV. Decorative techniques
other than maki-e

A decorative technique. A design is drawn in urushi onto which gold or silver foil is placed.
Additional details may be depicted using the harigaki* (lit. needle drawing) technique. Afterhardening, suri urushi* (lit. urushi rubbing) is carried out to ensure firm adherence of the
haku-e design.

III. Maki-e

A decorative technique. It involves painting a design in iro urushi* (coloured urushi), which is a
mixture of suki urushi* (transparent urushi) and pigments. Urushi-e is considered to be the oldest
decorative technique in the urushi repertoire. Up until the late 19th century, when only natural
pigments were available, there were five colours, namely vermilion (red, mercury sulfide), brown(red ochre known as bengara), yellow (orpiment), green (orpiment and indigo) and black (lampblackor pine soot). Today synthetic pigments are widely used, resulting in many iro urushi* colours.

II. Kyūshitsu

1. Urushi-e (urushi painting, not to be confused with e-urushi*)I. Urushi

IV. Decorative techniques other than maki-e (14 entries)

4. Mitsuda-e
VI. Substrates

Oil paint used on urushi objects. If vegetable oils such as perilla oil, tung oil and linseed oil
are simmered at a low temperature for a long period of time, their drying rates increase. The
addition of lead monoxide (mitsudasō) to produce so-called mitsuda oil increases the drying
rate even further. The commonly used natural white pigments gofun (calcium carbonate) andwhite lead turn black when mixed with urushi, but remain white if combined with mitsuda oil.
This explains why white is the most frequently used mitsuda-e colour found on urushi objects.

39

Ⅰ漆

5 蒟醤
漆工装飾技法の一つ。上塗漆面に刀で文様を彫り、その彫溝に地の漆とは別の色漆＊を埋め込み、研炭＊
で研いで余分な色漆を取り除くことで文様を明瞭に表す。
タイやミャンマーの代表的な漆工技法で、
日本

Ⅱ 髹漆

には高松の漆工家・玉 楮象谷が導入し、現在は高松の代表的な技法となっている。

蒟醤の作例（部分）
Kinma

6 存星
漆工装飾技法の一つ。上塗漆面に刀で文様を彫り、その彫溝に地の漆とは別の色漆＊を埋Ⅲ 蒔絵

め込み、研ぎ出して文様を表す。その後、文様の輪郭線や細線を彫り、その彫溝に漆を摺込んで、金箔を押込み表す技法。広くは輪郭線を線刻しただけのもの、また文様を漆絵＊で描
き輪郭線や細線を沈金＊で施したものなども含む。

Ⅳ 蒔絵以外の装飾

7 彫漆
漆工装飾技法の一つ。漆を厚く塗り重ねた層に文様を彫り込む技法の現代的な総称。日本では黒・朱・黄・緑など単一の色漆＊を重ねて彫り込んだものを、Ⅴ 道具・材料

それぞれ堆 黒・堆 朱・堆 黄・堆 緑と呼ぶ。緑漆や朱漆を分けて塗り重ねた積層の彫り込む深さを変えて、花や鳥を朱の層で表し、葉・枝などを緑の層で表すと呼ぶ。
技法を「紅花 緑葉」

Ⅵ 素地

8 屈輪
彫漆＊や陶磁器に用いられる意匠の一種。漆を厚く塗り重ねた層に文様を彫り込む技法の中で、蕨型、ハート型、眼鏡型などによる連続文様のこと。

40

龍鳳凰堆黄椀（MOA美術館）（部分）
Chōshitsu, detail from bowl,
China, dated 1596, MOA Museum of Art

II. Kyūshitsu

A decorative technique. A design is carved into the upper (uwanuri) urushi surface with anengraving tool and the resulting incisions are filled with iro urushi* (coloured urushi) in acolour contrasting to that of the ground. The surface is then abraded with togisumi* charcoal
to remove excess iro urushi* and reveal the design. The technique is characteristic oflacquerwork made in Thailand and Myanmar. In Japan it was pioneered by the urushi artist
Tamakaji Zōkoku (1805-1869) of Takamatsu. The use of kinma is now closely associated withTakamatsu.

I. Urushi

5. Kinma

6. Zonsei

A type of design carried out in chōshitsu* (carved urushi) that is also found on ceramics.
Among designs carved into thickly built-up layers of urushi are scrolls or repeat patterns ofmotifs that resemble hearts, pince-nez spectacles and warabi (fern sprouts), the last often
being referred to as pommel-scrolls in the West.

VI. Substrates

8. Guri

V. Tools and materials

A decorative technique. Chōshitsu is a modern term for a technique whereby a design iscarved into a thick coating consisting of many layers of urushi. Designs carved into iro
urushi* (coloured urushi) of a single colour are referred to in Japanese as tsuikoku (lit. piled
black), tsuishu (lit. piled vermilion), tsuiō (lit. piled yellow) and tsuiryoku (lit. piled green).
In a related technique known as kōka ryokuyō (lit. red flowers, green leaves), strata of green
and vermilion (red) urushi are built up on top of one another. Carving is then carried out atdifferent depths so that flowers and birds appear red while leaves and branches appear green.

IV. Decorative techniques
other than maki-e

7. Chōshitsu (carved urushi)

III. Maki-e

A decorative technique. A design is carved into the upper (uwanuri) urushi surface withan engraving tool and the resulting incisions are filled with iro urushi* (coloured urushi)
in a colour contrasting to that of the ground. The surface is then abraded to reveal thedesign. This is followed by incising lines around the perimeter of the design and picking out
details within it. Urushi is then rubbed into the incisions and gold foil pressed into them.
In its broadest sense the term zonsei covers a number of related techniques. One example
is incising the perimeter of a design without filling it with gold. Another involves painting
a design in urushi-e* and using chinkin* (lit. sunken gold) to delineate the perimeter of thedesign and the details within it.

41

Ⅰ漆

9 堆漆
漆工装飾技法の一つ。
ここでは、現代の日本で行われている技法について触れる。仮板の上に各種の色漆＊を100回以上塗り重ね、5〜7mm 厚の漆だけの漆板をつくり、その塗り重
ねた漆板を形に切り抜き、必要な枚数を張り合わせた後、造形する技法。

Ⅱ 髹漆

10 沈金（鎗金）
漆工装飾技法の一つ。漆塗面に刀や鑿と呼ばれる刃物で文様を彫り、彫溝に摺漆＊をし、金箔を押し込み、文様を表す。中国では鎗金と呼ぶ。現在行われている技法には、線彫り・点彫り・片切彫り・引掻彫りなどがある。彫溝に入れる材料は、箔以外に消Ⅲ 蒔絵

粉＊や色粉を使用することもある。彫っただけで何も入れないで仕上げる技法を素彫りと呼ぶ。
沈金の作例（部分）Chinkin (lit. sunken gold)

11 堆錦
Ⅳ 蒔絵以外の装飾

漆工装飾技法の一つ。焼 漆（熱して水分を完全に取り除いた漆）に大量の顔料を叩きながら混入し、練り合わせたものを堆 錦餅と呼び、それをローラーで薄く延ばし板状にする。さらにその薄板を小刀で文様に切り抜き、接着用の焼漆を塗り器物に貼付ける。堆錦餅をレリーフ状にした上に金属棒で線刻を行い、表情をつける。貼り重ねる、複数の色の餅を練り合わ
せる、細く切り唐草文様などを作る、餅の上から顔料や金消粉＊で着彩・暈しを表現する、などの応用技法もある。

Ⅴ 道具・材料

12 平 文（平脱）
漆工装飾技法の一つ。金・銀・錫・鉛等の金属薄板を文様に切り透かし、漆下地面あるいは中塗面に貼付け、その上に黒漆を数回塗り重ねる。その後、研炭＊で金属文様を研ぎ出し、艶を上げて仕上げる。

Ⅵ 素地

金属文様を研がずに剥ぎ出す技法を平脱と呼ぶ。金属面に刃物で毛 彫りをする場合もある。近世以降、金銀の薄板を金貝＊と呼び、その技法も同様に呼ぶ様に
なった。

42

梅蒔絵手箱（三嶋大社）（部分）
Hyōmon (sheet metal inlay), detail fromcosmetic box with maki-e decoration,
13th century, Mishima Taisha Shrine

A decorative technique. Only the method currently practised in Japan is described here. On
a temporary surface a solid sheet 5 to 7 mm thick is built up using over a hundred layers ofdifferently coloured urushi (iro urushi*). Sections are cut out of the sheet and pasted on topof one another to create an initial shape with the layer pattern repeated down its sides. Thisis then worked into a final form.

III. Maki-e

A decorative technique. A design is incised into an urushi surface with chisels and othersharp tools. The incisions are filled with urushi using the suri urushi* (lit. urushi rubbing)technique and gold foil is pressed into them. The Chinese term for the technique is sōkin(Japanese reading). Chinkin techniques used in Japan today include line incising, dot
incising, katagiribori (incising a groove with one vertical side and one angled side) andhikkakibori (lit. scratch carving, similar to harigaki*) In addition to metal foil, keshifun*
powder and powdered pigments are sometimes used to fill the incisions. The term subori(plain carving) is used when the incisions are left unfilled.

II. Kyūshitsu

10. Chinkin (lit. sunken gold), also known as sōkin

I. Urushi

9. Tsuishitsu (layered coloured urushi)

11. Tsuikin (lit. piled brocade)VI. Substrates

A decorative technique. A design component is cut out of a thin sheet of metal such as
gold, silver, tin or lead. This is pasted onto a middle (nakanuri) urushi surface or an urushi
shitaji* (urushi-based foundation) coating, after which black urushi is applied several times.
The surface is then abraded with togisumi* charcoal until the metal reappears. The final
stage is polishing of the urushi surface to bring out the shine (tsuyaage*). When the urushi
covering the metal is scraped off rather than abraded, the term heidatsu is used. Thin lines
are sometimes incised (kebori) into the surface of the metal. Because thin sheets of gold andsilver have long been called kanagai* (lit. metal shell), the term kanagai has also come tomean the technique itself when gold or silver sheet is involved.

V. Tools and materials

12. Hyōmon (metal sheet inlay), a related technique is known as heidatsu

IV. Decorative techniques
other than maki-e

A decorative technique. A large amount of pigment is beaten into yaki urushi (urushi
heated to completely remove its water content) to make a putty or dough known as tsuikin
mochi (lit. piled brocade mochi cake). This is rolled out into a sheet. A design component
is cut out of the sheet with a small knife and pasted onto an object with yaki urushi as theadhesive. Details are then incised into the raised surface using a metal stick. Variations of
the technique include pasting cut-out design components on top of one another, kneading
together doughs of different colours, and making f loral scrolls from strips of dough.
Colouring or shading the surface of a design component using powdered pigments or gold
keshifun* powder is used to accentuate the decorative effect.

43

Ⅰ漆

13 螺鈿（青貝）漆工・木工の装飾技法の一つ。漆塗面に施す 漆 地 螺 鈿と木地に直接嵌め込む木地螺鈿がある。夜光貝や 鮑 貝の殻の真珠層部分を文様に切り、器物に嵌め込むか貼付ける。貝は他にも蝶 貝・メキシコ鮑貝・真珠貝などを用いる。材料加工法は、一定の厚さに摺り減らす摺貝法と、煮込んで貝層を剥がす煮貝法がある。螺鈿の技法と材料は厚貝（厚さ1mm

Ⅱ 髹漆

前後）
と、薄貝（厚さ0.1mm 前後）に大別される。厚貝の切削法は糸鋸で文様を切り鑢で整える。薄貝は小刀や針先を用いて切る切抜法、鏨 で打ち抜く打抜法、希塩酸で溶かす腐食法の三種類がある。その他、厚貝には細線を彫る毛彫り、立体的に彫刻する彫 貝などがある。薄貝の技法には三角形・方形・菱形などの貝片を並べる置貝法、細かく砕いた貝の細片を蒔く蒔貝＊法 、貝片に亀Ⅲ 蒔絵

裂を作る割貝法、貝片の裏に彩色や金銀箔や金銀粉を施す
色貝法などがある。黒漆面に薄貝を貼ると貝が青く輝くために、薄貝螺鈿を青貝と呼ぶこともある。

Ⅳ 蒔絵以外の装飾

樵夫蒔絵硯箱（MOA美術館）（部分）
Raden (shell inlay), detail fromwriting box with maki-e decoration,
17th century, MOA Museum of Art

14 卵殻
漆工装飾技法の一つ。鶏や 鶉 の卵殻を用いる変塗＊技法の一つで、中塗研面に漆で下付けした上に卵殻を並べ平らに押し付け、細かくひび割れを入れる。硬化後、漆を数回塗込

Ⅴ 道具・材料
Ⅵ 素地

44

み、研炭＊で研ぎ出した後に胴擦＊と艶上げ＊を行い仕上げる。

卵殻の作例（部分）Rankaku (eggshell)IV. Decorative techniques
other than maki-e
V. Tools and materials

A decorative technique. It is a kawari nuri* technique (special lacquering in a variety oftypes) that makes use of the shell of chicken or quail eggs. A design is painted in urushi
on the abraded surface of a middle (nakanuri) urushi surface. Pieces of eggshell are placed
onto where the urushi has been applied and pressed down so that fine cracks develop as
they adhere to the surface below. After hardening, the surface is coated with several layersof urushi. It is then abraded with togisumi* charcoal and finished by dōzuri* polishing andtsuyaage* (bringing out the shine).

III. Maki-e

14. Rankaku (eggshell)

II. Kyūshitsu

A decorative technique also used in woodwork. In one variation of the technique, shell ispasted onto a lacquered surface (urushiji raden), while in another it is inlaid directly into awooden substrate (known as kiji raden). The iridescent mother-of-pearl layer of the shell of
the great green turban (yakōgai) or abalone (awabigai) is cut into shapes that are either inlaid
into, or pasted onto the surface of an object. Other shells used include pearl oyster (chōgai),
Mexican abalone and Akoya pearl oyster (shinjugai). Shells are processed either by grinding
down to a certain thickness using the surigai (ground shell) method or by separating theirlayers by boiling using the nigai (boiled shell) method. A broad distinction is made between
working with atsugai (lit. thick shell), whereby the shell is roughly 1 mm thick, and withusugai (lit. thin shell), whereby it is nearer 0.1 mm thick. When making a design component
from atsugai, a piece of shell is cut with a coping saw and then shaped with a file. In the caseof usugai there are three methods used: cutting out a shape with a small knife or the tip of aneedle in what is called the kirinuki (cut out) method; punching out shapes in what is known
as the uchinuki (punching) method; and dissolving by dilute hydrochloric acid using the
fushoku (corrosion) method. With atsugai you find three-dimensional carving (chōgai, lit.
carved shell) and the incising of thin lines (kebori) into the shell surface. With usugai there
are numerous ways of working: placing small pieces of shell cut into triangles, squares andrhombuses, known as the okigai (placed shell) method; sprinkling of finely-crushed shellfragments, known as the makigai* (sprinkled shell) method; making cracks on a piece ofshell, referred to as the warigai (cracked shell) method; applying colour, gold or silver foil,
or gold or silver powder to the underside of the shell, known as the irogai (coloured shell)
method. Because thin shell has a blue iridescence if pasted onto a black urushi surface, raden
inlay using usugai is also known as aogai (lit. blue shell).

I. Urushi

13. Raden (shell inlay), also known as aogai (lit. blue shell)

VI. Substrates

45

Ⅰ漆

Ⅴ 道具・材料（19項目）
漆工に用いる道具・材料類は、主に髹漆＊工程に用いる漆刷毛＊・篦＊・下地＊材料などと、蒔絵装飾工程に用いる蒔絵筆＊・粉筒＊・蒔絵粉＊などがある。また、共通して用いる漆風呂＊・
濾紙＊・研炭＊などもある。いずれも天然素材が用いられている。

Ⅱ 髹漆

1 漆 刷毛漆塗りを行うための刷毛。かつては動物の毛で作られていたが、18 世紀に江戸の漆刷毛師の 泉 清 吉により刷毛目が出ない柔らかさと、漆を延ばす腰の強さを併せ持つ人毛の刷Ⅲ 蒔絵

その外側には毛が考案された。糊漆＊で人毛を板状に固め、薄い 桧 板を貼る。塗師刀＊で必要な長さだけ鉛筆のように削り出し、毛をほぐして使用する。

Ⅳ 蒔絵以外の装飾

漆刷毛
Urushibake (flat brushes for lacquering)2 漆 風呂漆工道具の一つ。器物に塗った漆を硬化させるための木製の戸棚。一般的には引戸で内部に桟と桟 木を渡し、塗った器物を指 板に載せて収納する。内側に水Ⅴ 道具・材料分を含ませて戸内を常に高湿度に保つ 湿 風 呂と湿度を加えない空風呂がある。
漆風呂
Urushiburo (cabinet for curing urushi)

3 濾紙
Ⅵ 素地

漆工道具の一つ。漆に混入されている塵などを濾す極薄い和紙。原料の 楮 は繊維が長い
ため、液体の中の塵を吸収する働きが大きく、水などの液体に強い特徴がある。現在はテトロン製の濾紙も作られているが、編目構造のため微細な塵が濾しきれない。

46

Tools and materials for kyūshitsu* (lacquering) such as urushibake* (f lat brushes forlacquering), hera* (spatulas) and materials for making shitaji* foundation, and those formaki-e* (lit. sprinkled picture) decoration such as maki-e fude* (maki-e brushes), funzutsu*(powder tubes) and maki-e fun* powder. There are also items used for both kyūshitsu* andmaki-e* such as urushiburo* (cabinets for curing urushi), koshigami* (filter paper) andtogisumi* (charcoal for abrading). All of the above are made from natural materials.

V. Tools and materials

Equipment for lacquer manufacture. A wooden cabinet for curing urushi applied to an
object. The cabinet has a pair of sliding doors and its interior is fitted out with runners andcrossbars onto which lacquered objects on planks can be placed. A cabinet whose interior
is artificially moistened to create a humid environment is called a shimeshiburo. This is incontrast to a karaburo, whose interior is not artificially humidified.

IV. Decorative techniques
other than maki-e

2. Urushiburo (cabinet for curing urushi)

III. Maki-e

Flat brushes for applying urushi. In the past these were made of animal hair. In the 18th
century, Izumi Seikichi, an urushibake maker from Edo (present-day Tokyo), started touse human hair, which is stiff enough to use with urushi but soft enough not to leave brushmarks. The brushes are made from human hair stiffened with nori urushi* (urushi mixed
with rice glue) and sandwiched between thin boards of cypress wood. A lacquerer’s knife
known as a nushitō* is used to slice diagonally across the width of one end of the sandwich
to expose the hairs. The hairs are loosened before use. When the hairs wear out, the end of
the urushibake is shaved down as if it were a pencil.

II. Kyūshitsu

1. Urushibake (flat brush for lacquering)

I. Urushi

V. Tools and materials (19 entries)

3. Koshigami (filter paper)
VI. Substrates

Equipment for lacquer manufacture. Very thin Japanese washi paper used to filter out dust
and other impurities from urushi. Because the mulberry fibres from which the paper is madeare very long, koshigami is extremely effective at trapping impurities and is strong enoughnot to disintegrate when exposed to water or other liquids. Nowadays filter paper made ofTetoron (a type of polyester manufactured by Toray Industries) is available, but its meshstructure is insufficiently fine to remove very small particles of dust.

47

Ⅰ漆

4 定盤
漆工道具の一つ。漆作業に使用する平らな作業台あるいは板。平板上で漆下地＊を調合する下地定盤と、漆塗の際に塗刷毛の漆の含みを調節する塗定盤がある。それぞれの定盤を有し漆刷毛＊や 漆 篦＊などを収納する引出を備えた箱定盤、蒔絵筆＊を収納する引出を備えた蒔絵定盤もある。

Ⅱ 髹漆

5 砥石
漆工道具の一つ。下地＊の硬化した面を研ぐために用いる。下地の研ぎをすることで、下地面の凹凸を無くし、次の下地付けの密着を良くすることを目的とする。石の肌理の荒さにより、荒 砥・中砥・仕上砥に区別して使われる。天然砥石が理想であるが、現在は人工砥石

Ⅲ 蒔絵

が多い。

6 地の粉
漆工制作の下地＊材料の一つ。下地に使用する比較的粒子の荒い土。漆と混合し硬化すると硬い層をつくる。現在は京都と輪島に多く産出する。篩 にかけ荒・中・細と分けて使用する。
Ⅳ 蒔絵以外の装飾

その調合方法により、本地＊・蒔地＊・本堅地＊などがある。
生漆＊と混合したものを地と呼び、7 砥の粉
漆工材料の一つ。地の粉＊を水 簸させた微粒子の土、あるいは仕上げ砥石＊の粉末（引Ⅴ 道具・材料Ⅵ 素地

48砥 ）。現在は京都山科が主産地。漆下地＊の場合は水をしみ込ませ練ったあと、生漆＊と混となる。
合し錆漆＊をつくる。さらに、地の粉を加えたものが切粉（切粉地＊を参照）

5. Toishi (whetstone)

6. Jinoko (powdered clay)

7. Tonoko (finely powdered clay or pulverized whetstone)

V. Tools and materials

Material for lacquer manufacture. The term tonoko refers to very fine clay obtained by
sedimentation of jinoko* (powdered clay) or powder made by pulverizing fine grade
whetstone known as hikito of the kind used for finishing (see toishi*). Today the main
centre for the production of the clay variety of tonoko is Yamashina, Kyoto. When used inurushi shitaji* (urushi-based foundation) coatings, tonoko is kneaded together with waterand then mixed with ki urushi* (raw urushi) to make sabi urushi*. If sabi urushi* is mixed
with jinoko*, it becomes kiriko (see kirikoji*).

IV. Decorative techniques
other than maki-e

Material for making shitaji* foundation. Jinoko is a relatively coarse clay which
produces a solid and robust coating when mixed with urushi and allowed to harden.
Most jinoko today comes from Kyoto and Wajima. Sieves are used to separate it into
three grades: coarse, medium, and fine. Jinoko mixed with ki urushi* (raw urushi)
is known as ji (see urushi shitaji*). It is used in the making of honji*, makiji* andhonkataji* foundations.

III. Maki-e

Equipment for lacquer manufacture. Toishi are used for abrading the hardened surfaces ofshitaji* foundation layers. The purpose is to smooth the surface and ensure that the next
application of shitaji* foundation adheres properly. Different grades of whetstone - coarse,
medium fine, and fine (for finishing) - are used according to the coarseness of texture of
the shitaji* surface being abraded. Although natural whetstones are preferable, artificial
whetstones are now widely used.

II. Kyūshitsu

Equipment for lacquer manufacture. A flat board on which urushi-related tasks are carriedout. A shitaji jōban is a board on which urushi shitaji* (urushi-based foundation) coatings
are prepared. An urushi jōban is used during lacquering as a surface on which to adjust theamount of urushi taken up by an urushibake* brush. Small chests equipped with both types
of work board and drawers to store urushibake* brushes and spatulas (hera*) are called hakojōban (box jōban). There are also chests with work boards that are fitted with drawers formaki-e fude* brushes. These are known as maki-e jōban.

I. Urushi

4. Jōban (work board)

VI. Substrates

49

Ⅰ漆

8 研炭
漆工道具の一つ。漆塗の硬化した面を研ぐために用いる。そのため深い研ぎ傷が入らない
よう特別に柔らかく焼いた木炭。漆塗面の斑を取り除き、次の塗りの密着を良くすることを目的とする。炭は作品形状に合わせ使いやすい大きさに切る。木の小口を研ぎ面に当たるようにし、水をつけながら木目に対し直角に動かして使用する。朴 炭（ホオの木を焼いた炭で硬Ⅱ 髹漆・蝋色炭（チシャの木を焼いた炭で極柔らい）
・駿 河炭（ 油 桐の木を焼いた炭で柔らかい）かい）と硬さの異なった木炭を使い分ける。金地＊を研ぐ場合は特別に椿 炭を用いる。

9 篦
漆工道具の一つ。使用目的により、下地を混合させる合わせ篦、
Ⅲ 蒔絵

下地＊を付ける付け篦、色漆＊などを練り合わせる練り篦、広い面
積に漆を広げる配り篦などの名称がある。用途に応じてヒノキ・ア
テ・カエデ・ニレ・ツゲなどの材を削り、厚みや形をその都度、塗師
刀＊で削って使う。

Ⅳ 蒔絵以外の装飾

箆
Hera (spatulas)

10 塗師刀漆工道具の一つ。漆篦＊を削るために使う片刃の刃物。一般の切出小刀より刃渡りが長いが、地域や個人により形は様々である。漆刷毛＊の切出しにも使用する。

Ⅴ 道具・材料

11 蒔絵筆
蒔絵＊に用いる道具。漆で文様を描く、
あるいは地塗＊を行うための筆。漆は粘性が高いため筆の構造や形状、毛の素材が特殊である。表現目的により数多くの種類の筆が造られる。主な筆として、
根 朱 筆は最も細く長い線を描くために長いネズミの毛が使用されⅥ 素地る。その他は雄白ネコの毛が使われる。鶴 書筆は少し太く抑揚のある線を描く時に使用する。地 塗 筆（丸筆）はさらに太く面積のある地塗に使用する。それぞれの形に太細があり、蒔絵筆の種類は十数種類に及ぶ。

50

蒔絵筆
Maki-e fude (maki-e brushes)II. Kyūshitsu

Equipment for lacquer manufacture. Charcoal for abrading the hardened surfaces of urushi
coatings. The various charcoals used are specially manufactured so as to be soft enough not
to cause deep scratching. The purpose of abrading with charcoal is to smooth the surface andensure that the next application of urushi adheres properly. The charcoal is cut into different sizes
depending on the shape of the object being worked on. It is dipped in water and moved backwards
and forwards with the grain-end acting as the abrasive surface. Charcoals of different hardnesses
are used depending on need. They include hōzumi, a hard charcoal made from magnolia wood;
surugazumi, a soft charcoal made from the wood of the tung oil tree; roirozumi, an extremely soft
charcoal made from the wood of the chisha tree (Ehretia acuminata). Tsubakizumi is charcoal
made from camellia wood used particularly on kinji* (lit. gold ground) surfaces.

I. Urushi

8. Togisumi (charcoal for abrading)

9. Hera (spatula)

Equipment for lacquer manufacture. Single-edged knives used to shape and trim spatulas(hera*) and to shave down the ends of urushibake* brushes. Their blades are longer thanregular kiridashi kogatana (traditional knives for wood carving) and come in many different
shapes according to region and individual preference.

VI. Substrates

Tool used in maki-e* (lit. sprinkled picture) decoration. Maki-e brushes are used for
applying urushi when drawing a design or coating a ground (jinuri*). Because of the highviscosity of urushi, maki-e brushes are unique in terms of structure, shape and bristle type.
There are numerous types of brush made for a variety of specific purposes. One of the mostimportant is the nejifude, which is used to draw long, thin lines. Nejifude are made fromlong bristles obtained from rats. Other brushes are made from the fur of white male cats.
Tsurugakifude (lit. crane writing brush) are slightly thicker than nejifude and are used fordrawing lines of varying width. Jinurifude (lit. ground lacquering brush), also known asmarufude (lit. round brush), are even thicker. They are used for coating grounds (jinuri*).
Since each type of brush is available in several thicknesses, well over ten different kinds ofbrush are used in all.

V. Tools and materials

11. Maki-e fude (maki-e brush)IV. Decorative techniques
other than maki-e

10. Nushitō (lacquerer’s knife)

III. Maki-e

Equipment for lacquer manufacture. Spatulas are named according to function. They include
awasebera for mixing shitaji* foundation, tsukebera for applying shitaji* foundation andneribera for purposes such as kneading iro urushi* (coloured urushi). A kubaribera is used
for spreading urushi over large areas. Hera are made from different kinds of timber shaped
and trimmed using a nushitō* (lacquerer’s knife) according to the needs of the task at hand.
The types of wood typically used are cypress (hinoki), ate (Thujopsis dolabrata), maple (kaede),elm (nire) and boxwood (tsuge).

51

Ⅰ漆

12 粉筒
蒔絵＊に用いる道具。蒔絵粉＊を蒔く時に使用する。竹・葦・鳥 軸などを用い、片方の先端部を斜めに切り落とし、その切口部分に絹の布を張り使用する。絹はそれぞれ使用する蒔絵粉＊の粒子の大きさに適合した織目の布を選ぶ。筒の反対側から蒔絵粉をⅡ 髹漆

入れ、指で軽く弾きながら蒔きたい場所に蒔きたい量の粉を落とすことが出来る。
粉筒
Funzutsu (powder tube)

13 蒔絵粉Ⅲ 蒔絵

蒔絵＊に使用する材料。金属の塊を鑢で下ろし粉にしたもの。形状から鑢で下ろしたままのものを鑢粉という。それを丸めたものを丸粉、丸粉を平たく延ばしたものを平目粉、さらに薄く延ばし少しカールした形のものを梨子地＊粉と呼ぶ。それぞれ粒子の大きさは微粒子から荒いものまで 15〜20 段階あり、金属の種類も金・銀以外に、銅・錫・鉛・白金等々、真鍮・青Ⅳ 蒔絵以外の装飾

金・赤銅などの合金も含め、蒔絵粉の種類は数えきれない
程ある。

蒔絵粉
Maki-e fun (maki-e powder)

14 乾漆粉漆工装飾材料の一つ。色漆＊をガラスなどの剥がれやすいものに2〜3 回程塗り、少し厚み
Ⅴ 道具・材料のある塗板を作り、充分に硬化させ、それを剥がしてから薬 研や 乳 鉢などで粉末にしたもの。色粉より硬く研ぐことが出来るため、蒔絵＊や変塗＊に用いる。

15 箔
Ⅵ 素地

漆工装飾材料の一つ。金などの金属の小さい板を叩いて薄く延ばしたもの。延性の高い金が最も薄く加工出来る。金以外にも銀・白金・アルミ・真鍮または金銀の合金（青金）などの
箔もある。

52

II. Kyūshitsu

Tool used in maki-e* (lit. sprinkled picture) decoration. Funzutsu are used for sprinklingon maki-e fun* powder. They consist of a section of bamboo, a length of reed or a feather
shaft, one end of which is cut at an angle and covered with a piece of silk mesh. The powder
is inserted into the opposite end of the funzutsu, which is then tapped lightly with a finger sothat the appropriate amount of powder sprinkles through the silk mesh. Funzutsu are madewith silk of various degrees of coarseness to accommodate maki-e fun* of different grain
sizes.

I. Urushi

12. Funzutsu (powder tube)

13. Maki-e fun (maki-e powder)III. Maki-e
IV. Decorative techniques
other than maki-e

Material used in maki-e* (lit. sprinkled picture) decoration. Maki-e fun powder is made byshaping filings ground from metal ingots. The main types of maki-e fun are named after
their shape. They include unprocessed yasurifun (metal filings); marufun (lit. round powder)which is yasurifun shaped into spheres; hiramefun (flat oval powder) made from marufun
flattened into ovals; and nashijifun (powder used for nashiji* (lit. pear skin ground)) madefrom hiramefun further flattened and rolled so as to curl at the edges. Each type of powder
is available in a variety of between 15 to 20 grain sizes ranging from fine to coarse. In
addition to gold and silver, maki-e fun can be made from metals such as copper, tin, lead andplatinum, and from metal alloys such as brass, aokin (gold and silver) and shakudō (copperand gold). The number of variations is almost endless.

14. Kanshitsufun (lit. dry-urushi powder)
V. Tools and materials

Material used in lacquer decoration. Iro urushi* (coloured urushi) is applied two or threetimes to form a film on a glass or other surface from which it can be easily detached. Afterthe film has hardened, it is removed and ground into a powder with a yagen (mortar witha wheel-shaped pestle) or a normal pestle and mortar. Because the urushi-pigment mix
is harder than pigment and can be abraded, it is used for maki-e* (lit. sprinkled picture)
decoration and in kawari nuri* (special lacquering in a variety of types).

15. Haku (foil)
VI. Substrates

Material used in lacquer decoration. A small piece of gold or other metal beaten into a thinleaf. Gold is especially ductile and can be made into extremely thin sheets. Foil is also madefrom other metals and metal alloys including silver, platinum, aluminium, brass, and aokin(gold and silver).

53

Ⅰ漆

16 消粉
漆工装飾材料の一つ。箔＊の製品工程で四角く切り抜いた周囲の裁 落しを水飴で練り、微細な粉末に加工した材料。一般的には泥と呼ぶが、漆工分野では消粉と称する。近世
以降、徐々に加工技術が進み、粒子はより微細になる。金塊を鑢で下ろす蒔絵粉＊とは異
なる。

Ⅱ 髹漆

17 金貝
漆工装飾技法の一つ。金銀の薄板を文様に切り抜き漆面に貼付け、さらに漆を塗込め、研（艶上げ＊と同じ方法）を行い仕上げる。研出蒔絵＊と併用
炭＊で研ぎ出した後、胴擦＊と磨きすることが多い。

Ⅲ 蒔絵

18 切金
漆工装飾材料の一つ。薄い金銀板を方形・長方形・菱形等に小さく切った材料。蒔絵＊と共に用いることが多く、技法名称にも用いる場合がある。

Ⅳ 蒔絵以外の装飾

19 角粉
漆工材料の一つ。塗膜の艶出し研磨に用いる。鹿の角を蒸焼きにして柔らかくし微細粉末にしたもの。蝋色仕上げ＊や研出蒔絵＊の最終の艶上げ＊に用いる。胴擦＊、摺漆＊を重ねた後、微量の菜種油と角粉を指先や手のひらに付けて磨く。現在では代用として酸化チタニウムやⅤ 道具・材料
Ⅵ 素地

54

研磨剤を用いることが多い。

角粉
Tsunoko (deer antler powder)Material used in lacquer decoration. Scraps from the process of cutting foil into equal-sizedsquare sheets are kneaded with mizuame (starch syrup) and turned into powder with anextremely small grain size. Although commonly known as dei (lit. mud), it is called keshifun
in the field of lacquerwork. Keshifun has become increasingly finer over the centuries thanks
to advances in methods of manufacture. It is different from maki-e fun* powder, which ismade by shaping filings ground from metal ingots.

18. Kirikane (cut foil)

19. Tsunoko (deer antler powder)

V. Tools and materials

Material for lacquer manufacture. Baked deer antler ground into a fine powder and used
for polishing the surface of an urushi coating to bring out the gloss (tsuyaage*) in the final
process of the roiro shiage* finishing procedure and in togidashi maki-e* (polished-out
maki-e). After repeated cycles of dōzuri* polishing and suri urushi* (lit. urushi rubbing)surface consolidation have been carried out, a small amount of rapeseed oil and tsunoko
powder are placed on the fingertips or the palm of the hand and used to polish the lacquered
surface. In recent years, titanium oxide and other alternative abrasives are often usedinstead.

IV. Decorative techniques
other than maki-e

Material used in lacquer decoration. Kirikane are tiny pieces of gold or silver foil cut into
squares, rectangles and diamonds. They are frequently used in maki-e* (lit. sprinkled
picture) decoration. Kirikane can also refer to the process of creating and applying foil
shapes to a surface.

III. Maki-e

Technique used in lacquer decoration. A component of the design is cut out from a thin sheetof gold or silver and applied to a lacquered surface. The surface is then sealed with urushi.
The hardened surface is abraded with togisumi* charcoal so that the design reappears.
Finishing is carried out using dōzuri* polishing and tsuyaage* (bringing out the shine).
Kanagai is often used in conjunction with the togidashi maki-e* (polished-out maki-e)
technique.

II. Kyūshitsu

17. Kanagai (lit. metal shell)

I. Urushi

16. Keshifun (metal powder of extremely fine grain size)

VI. Substrates

55

Ⅰ漆

Ⅵ 素地（12項目）
漆工品の素地（胎）には木・竹・布・和紙・皮・土・金属など、多様な材料が用いられる。
その中では木胎＊（木地）が最も多く使用される。木胎の場合、加工技術によって指 物＊・挽物＊・刳物＊・曲物＊・卷胎（＊胎）などに分類されている。

Ⅱ 髹漆

1 漆皮（ 漆 皮）
漆工品の素地の一つ。素地を動物の皮革で造形し漆塗りを施したもの、
またその技法。生皮を水に浸して柔らかくした皮を木型に被せ、木 槌で叩いて馴染ませながら包み込み、釘で固定し乾燥させる。皮は動きやすいため、充分に乾燥させた後、漆固め・布着せ＊・下地＊・漆塗を施し、素地が動かなくなった後に木型から切り外し、
その後、内側にも同じ工程を行う。

Ⅲ 蒔絵

2 乾漆
Ⅳ 蒔絵以外の装飾

漆工品の素地の一つ。素地を布で貼り重ねて造形したもの、
またその技法。多くは麻布を使用する。木型・土型・石膏型などに、米糊など水溶性の離型剤を施した上に下地を施し、麻さらに下地＊を施し、型から布を糊漆＊や麦漆＊などで貼り重ね、一定の厚みになった段階で、外す。近年は和紙を表面に貼る場合もある。自由な造形が可能となる。

Ⅴ 道具・材料

3 金胎
漆工品の素地の一つ。素地を金属材料で作製し漆塗りを施したもの。金属面を荒らし、水分の無い漆を使用し焼き付ける。その後は、焼き付けた漆の表面を荒らし、下地＊、塗りと通常

Ⅵ 素地

56

の髹漆＊工程を行う。漆は常温硬化法以外に80〜180 ℃程度の温度で、数十分で硬化す
る高温硬化法（焼付法＊を参照）があり、金属塗装に適する。

A wide variety of materials is used for the substrates of lacquerware. They include wood,bamboo, cloth, Japanese washi paper, leather, clay and metal. Among them, wood is the mostcommonly employed. Wooden substrates are categorised by how they are made. The maintypes are sashimono* (joinery), hikimono* (turning), kurimono* (carving from the block),magemono* (bentwood work) and kentai* (rolled substrate).

III. Maki-e

A type of lacquerware substrate. The term refers both to lacquered leather objects and to
the processes of manufacture, which involve shaping the leather into a desired form before
applying urushi. Leather is softened by soaking in water and placed over a wooden mould.
It is beaten with a mallet so that it fits tightly around the mould, secured with nails andthen left to dry. Because leather on its own tends to flex and bend, the form is made rigid bymeans of urushigatame (application of ki urushi* (raw urushi) for consolidation), nunokise*
cloth pasting and the application of a shitaji* foundation. The exterior is then lacquered.
Once the form has become fully rigid, it is removed from the mould and the same series ofprocesses used on the exterior are carried out on the interior.

II. Kyūshitsu

1. Shippi, also known as urushikawa (leather substrate)

I. Urushi

VI. Substrates (12 entries)

2. Kanshitsu (lit. dry urushi)

VI. Substrates

A type of lacquerware substrate. A substrate made of metal to which urushi is applied.
After roughening the surface of the metal, a coating of urushi containing little or no water
is applied and hardened at a high temperature. The hardened urushi surface is roughened,
after which the standard sequence of kyūshitsu* (lacquering) procedures, from the formingof a shitaji* foundation to the application of coatings of urushi, is carried out. Hardening of
the shitaji* and urushi layers is carried out at room temperature. In contrast to hardening
at room temperature, which is called jōon kōkahō, hardening of urushi at a temperatureof around 80°C to 180°C for several tens of minutes is known as kōon kōkahō (seeyakitsukehō*). The latter method is particularly suitable for fixing urushi to metal.

V. Tools and materials

3. Kintai (metal substrate)

IV. Decorative techniques
other than maki-e

A type of lacquerware substrate. The term refers both to objects whose substrates consist oflayers of cloth, usually hemp, pasted together and to the processes of manufacture. The layersof cloth are built up over a mould made of wood, clay or plaster using nori urushi* (urushi
mixed with rice glue) or mugi urushi* (urushi mixed with flour paste). Prior to this a watersoluble separating medium such as rice glue is applied over the mould to enable the form to
be removed later. An internal shitaji* foundation coating is made, the layers being applied in
the reverse order from usual, i.e. from fine to coarse. The layers of cloth are applied over thisuntil they reach the desired thickness. An external shitaji* foundation coating is then created
and the form is removed from the mould. Recent years have seen the growth of the practiceof pasting Japanese washi paper onto the surface of the foundation coating. The kanshitsu
technique is extremely flexible and allows the creation of any number of shapes.

57

Ⅰ漆

4 紙胎（貼抜）
漆工品の素地の一つ。素地を和紙で貼り重ねて造形したもの、
またその技法。木型などの原型に蕨 粉 糊あるいは柔らかい糊漆＊で和紙を貼り重ね、一定の厚みになった段階で、型から外す。漆固め・摺漆を重ねた後、和紙肌を生かし薄く上塗りを行う。同様に和紙肌を残した技法で、一閑張と称する場合は木地の上に和紙を貼り、同様に上塗りを行う。

Ⅱ 髹漆

5 陶胎
Ⅲ 蒔絵

漆工品の素地の一つ。素地を陶器・磁器で造形したもの、
またその技法。釉 薬を掛けない
焼締めの状態に金胎＊同様に水分の無い漆を焼き付ける（焼付法＊を参照）。その後は、焼き付けた表面を荒らし、下地＊、塗りと通常の髹漆＊工程を行う。

Ⅳ 蒔絵以外の装飾

6 藍胎
漆工品の素地の一つ。竹を割り表皮を取り除き、薄く裂いたヒゴを編んで造形したもの、またその技法。編み目を生かす場合と、下地＊で編み目を潰す場合があり、いずれも竹の上に漆塗りを施す。

Ⅴ 道具・材料

7 木胎
漆工品の素地の一つ。素地を木材で造形したもの、
またその技法。造形法や完成品の形状
により、指物＊・挽物＊・刳物＊・曲物＊に分けられる。漆工品の素地の中では、最も多く使用さ
れる。

Ⅵ 素地

58

II. Kyūshitsu

A type of lacquerware substrate. The term refers both to objects whose substrates consistof layers of Japanese washi paper pasted together and to the processes of manufacture.
The layers of paper are built up on a mould of wood or other material using bracken
starch (warabiko nori) or soft nori urushi* (urushi mixed with rice glue). When the layersof paper reach a certain thickness, the form is removed from the mould. The processesof urushigatame (application and hardening of a thin coating of urushi to stop further
absorption of urushi by the substrate) and suri urushi* (lit. urushi rubbing) are then carriedout repeatedly. This is followed by the application of a thin upper (uwanuri) urushi coatingthat allows the texture of the washi paper to show through. Another technique known asikkan-bari makes similar use of the texture of washi paper. It differs from the shitai process
in its use of a wooden substrate onto which the washi paper is pasted prior to the applicationof the upper (uwanuri) urushi coating.

I. Urushi

4. Shitai, also known as harinuki (paper substrate)

5. Tōtai (ceramic substrate)

A type of lacquerware substrate. The term refers both to objects with substrates made byweaving together thin strips of bamboo whose outer layer has been removed and to theprocesses of manufacture. The pattern of the weave may be left visible or concealed by fillingwith shitaji* foundation. In both cases urushi is then applied on top.

VI. Substrates

A type of lacquerware substrate. The term refers both to objects with substrates madeof wood and to the processes of manufacture. Wooden substrates, which are the mostcommonly found type of lacquerware substrate, are categorised by how they are made. The
main types are sashimono* (joinery), hikimono* (turning), kurimono* (carving from theblock) and magemono* (bentwood work). It is usually possible to tell from the shape of an
object which technique or techniques was or were used to make the substrate.

V. Tools and materials

7. Mokutai (wooden substrate)

IV. Decorative techniques
other than maki-e

6. Rantai (woven bamboo substrate)

III. Maki-e

A type of lacquerware substrate. The term refers both to objects with substrates made ofpottery or porcelain and to the processes of manufacture. Urushi containing little or nowater is applied to an unglazed high-fired ceramic body and hardened at a high temperature(see yakitsukehō*) in the same way as a kintai* metal substrate. The hardened urushi surface
is roughened, after which the standard sequence of kyūshitsu* (lacquering) procedures, fromthe forming of a shitaji* foundation to the application of coatings of urushi, is carried out.

59

Ⅰ漆

8 指物（板物）
木工技法の一つ。板材や棒材を組み合わせて造形すること。棚や箱など大小問わず、範囲は幅広い。

Ⅱ 髹漆

指物
Sashimono (joinery)

9 挽物
木工技法の一つ。木の塊を轆 轤や旋 盤を用いて回転させ造形すること。大きさや材料の制限はあるが、椀や鉢など量産に適する。

Ⅲ 蒔絵
挽物
Hikimono (turning)

10 刳物
Ⅳ 蒔絵以外の装飾

木工技法の一つ。木の塊を鑿・鉋 などを用いて刳り貫いて造形すること。造形の自由度が
高い。

11 曲物
木工技法の一つ。ヒノキ・スギなどの剥 板・薄板をⅤ 道具・材料

煮沸するか蒸気を当て、円形・楕円形に曲げ造形すること。

曲物
Magemono (bentwood work)

12 卷胎（
Ⅵ 素地

60

胎）

漆工品の素地構造の一つ。木・竹・布・皮など、幅の狭い薄い紐 状の素材を巻き上げて造形したもの、
またその技法。

A woodworking technique in which panels and lengths of timber are assembled to forma shape. Anything from small items such as boxes through to large objects such as sets ofshelves can be made using the technique.

II. Kyūshitsu

9. Hikimono (turning)

I. Urushi

8. Sashimono, also known as itamono (joinery)

A woodworking technique in which a block of wood is shaped by turning on a lathe. There
are limitations to the size of object that can be made and the types of timber that can beused. The technique is particularly suitable for producing bowls in large quantities.
III. Maki-e

10. Kurimono (carving from the block)11. Magemono (bentwood work)

V. Tools and materials

A woodworking technique in which strips or thin panels of timber such as cypress (hinoki)or cedar (sugi) are softened by steaming or boiling and then bent into round or oval shapes.

IV. Decorative techniques
other than maki-e

A woodworking technique in which a block of wood is hollowed out and worked into shapeusing chisels and planes. There are few restrictions in terms of the variety of shapes that canbe made.

12. Kentai (coiled substrate)
VI. Substrates

A technique used to produce substrates for lacquerwork from thin strips or lengths ofmaterials such as wood, bamboo, cloth and leather. The material is wound around itself in acontinuous spiral. The term is used to refer both to objects with substrates made in this way
and to the processes of manufacture.

61

Ⅰ漆
Ⅱ 髹漆
Ⅲ 蒔絵
Ⅳ 蒔絵以外の装飾
Ⅴ 道具・材料
Ⅵ 素地

62

索 引
沃懸地

30

紙胎（貼抜）

58

箔

52

色漆

6

下地

12

箔絵

38

淡蒔き
（薄蒔）

32

漆皮（漆皮）56

針描（引掻）

36

漆絵

38

地塗

30

挽物

60

漆濾

18

地の粉

48

白 檀塗

12

漆 下地

14

絞漆

12

平 文（平脱）

42

漆 刷毛

46

地蒔

30

平蒔絵

26

漆 風呂

46

朱漆塗

8

平目地

32

潤朱塗（潤塗）

10

定盤

48

拭漆

18

絵漆

36

真塗

18

粉筒

52

置目

36

透 漆（木地蝋 漆 ）

6

篦

50

描割

34

摺漆

18

本堅地

16

堅地

14

存星

40

本地

14

金貝

54

高蒔絵

26

蒔絵

24

変塗（鞘塗）

12

溜塗

10

蒔絵筆

50

乾漆

56

彫漆

40

蒔絵粉

52

乾漆粉

52

沈金（鎗金）42

蒔貝（微塵貝）

38

生漆

4

堆錦

42

蒔地

16

木地蒔絵

28

堆漆

42

蒔放し

34

木地蝋塗（木地呂塗）

10

付描

34

蒔暈し
（ 暈 蒔き）

34

髹漆

8

角粉

54

曲物

60

切金

54

詰蒔き
（濃蒔）

32

密陀絵

38

切粉地

16

艶上げ

22

麦漆

20

金地

30

砥石

48

木胎

58

金胎

56

胴擦

22

焼付法（高温硬化）

22

蒟醤

40

陶胎

58

螺鈿（青貝）

44

屈輪

40

研切蒔絵

28

卵殻

44

刳物

60

研炭

50

藍胎

58

蝋色仕上げ（蝋色塗）

20

黒漆塗

8

研出蒔絵

26

くろめ

6

砥の粉

48

黒蝋色 漆（蝋色漆）

6

梨子地

32

消粉

54

なやし

6

卷胎（ 胎）

60

日本産 漆

4

刻苧

20

塗師刀

50

濾紙

46

布着せ

20

指物（板物）

60

塗立（花塗・塗放し）

18

錆地

16

練描

36

肉合研出蒔絵28

糊漆22

Shibo urushi

13

55

Shin nuri

19

Chōshitsu

41

Kirikoji

17

Shippi (Urushikawa）

57

Dōzuri23

Kokuso21

Shishiai togidashi maki-e 29

E-urushi

37

Koshigami

47

Shitai (Harinuki)

59

Fuki urushi

19

Kurimono

61

Shitaji

13

Funzutsu

53

Kuro roiro urushi (Roiro urushi)

Shu urushi nuri

9

Guri

41

7

Suki urushi (Kijiro urushi)

7

Haku

53

Kuro urushi nuri

9Suri urushi

19Haku-e39

Kurome7

Takamaki-e

27

Harigaki (Hikkaki)

37

Kyūshitsu

9

Tame nuri

11

Hera

51

Magemono

61

Togidashi maki-e

27

Hikimono

61

Makibokashi (Bokashimaki) 35

Togikiri maki-e

Hiramaki-e

27

Maki-e25（Sumi-e togidashi maki-e) 29

Hirameji

33

Maki-e fude

51

Togisumi

51

Honji

15

Maki-e fun

53

Toishi49

Honkataji

17

Makigai (Mijingai)

39

Tonoko49

Hyōmon (Heidatsu)

43

Makihanashi (Makippanashi) 35

Tōtai

59

Ikakeji

31

Makiji17

Tsuikin43

Iro urushi

7

Mitsuda-e

39

Tsuishitsu

43Japanese urushi

5

Mokutai

59

Tsukegaki

35

Jimaki

31

Mugi urushi

21

Tsumemaki (Koimaki)

33

Jinoko49

Nashiji

33

Tsunoko55

Jinuri31

Nayashi

7

Tsuyaage

23

Jōban

49

Nerigaki37

Urumishu nuri (Urumi nuri)

Kakiwari

35

Nori urushi

23

11

Kanagai

55

Nunokise

21

Kanshitsu

57

Nuritate (Hananuri,

Kanshitsufun

53

Nurihanashi, Nurippanashi)

Kataji15

Kawari nuri (Saya nuri)

13

KentaiUrushi koshi

19

Urushi shitaji

15
47

Urushiburo

47

Nushitō51

Urushi-e

39

61

Okime

37

Usumaki

33

Keshifun55

Raden (Aogai)

45

Yakitsukehō (Kōon kōka) 23

Ki urushi

5

Rankaku

45

Zonsei

Kiji maki-e

29

Rantai59

Kijiro nuri

11

Roiro shiage (Roiro nuri) 21

Kinji

31

Sabiji

17

Kinma

41

Sashimono (Itamono)

61

41

VI. Substrates

Urushibake

19

V. Tools and materials

57

KirikaneIV. Decorative techniques
other than maki-e

Kintai43

III. Maki-e

13

Chinkin (Sōkin)II. Kyūshitsu

Byakudan nuri

I. Urushi

INDEX

63