Raden
The term may also be used for similar traditional work from Korea or countries in South-East Asia such as Vietnam, or for modern work done in the West. Techniques of production. There are many ways that raden is produced, with all techniques classed under three main categories: "Atsugai" (using thick shell pieces), "Usugai" (using much thinner pieces), and "Kenma" (the thinnest application of shell pieces). In "Atsugai" raden, the shell is often cut with a scroll saw, then finished with a file or rubstone before application. In "Usugai" raden, the thinner shell pieces are usually made using a  template and a special punch. "Kenma" raden is fashioned similarly to "Usugai" raden. Methods of application are varied. Thick shell pieces may be inlaid into pre-carved settings, while thinner pieces may be pressed into a very thick coating of lacquer, or applied using an adhesive and then lacquered over. Other methods use acid washing and lacquering to produce different effects. Raden is especially combined with maki-e, gold or silver lacquer sprinkled with metal powder as a decoration. History. Raden was imported to Nara period (710–794) Japan from Tang Dynasty China (618–907) and was used in mosaics and other  items in combination with amber and tortoise shell. Raden developed rapidly in the Heian period (794–1185), and was used in architecture as well as lacquerware. In the Kamakura period (1185–1333), raden was a popular saddle decoration. Raden experienced rapid growth through Japan's Azuchi-Momoyama period (1568–1600), when Japan's borders were still open to the outside world, until the early 17th century, before the isolationism instituted by the Seclusion laws of the Edo period (1600–1867). The technique was often used in the creation of European-style items, such as chests of drawers and coffee cups, and was very popular  in Europe, as the mother-of-pearl covering the items contributed to their status as a unique luxury. The Japanese referred to these goods as ""Nanban" lacquerware", with "Nanban" meaning "Southern Barbarians", a term borrowed from the Chinese and, in 16th century Japan, meaning any foreigner, especially a European. In Japan's Edo period, raden continued in popularity despite the closing of the European market. Craftsmen necessarily focused on Japanese items. The raden works of a number of famous Edo period craftsmen are still celebrated, namely those of Tōshichi Ikushima, Chōbei Aogai, and Somada brothers. After the Opening of Japan  to foreign trade in the 1850s, raden work for export markets soon became significant again. Raden is widespread in Japan today, and is made for many applications, modern and classic.