370 ART INDUSTRY AND RELATED OCCUPATIONS. 



already mentioned employment of gold dust in wood imitations, 

 silver dust, mother-of-pearl, and powder of old cinnabar lacquer 

 are all used for the same purpose. After the whole design is 

 outlined, strewed with these powders, dried and coated over wit4i 

 Nashi-ji-urushi, the first rubbing with charcoal, and then a varnish 

 of Se-shime takes place. In order to bring up the deep, black 

 interstices to the level, it receives now, as after the laying on of the 

 flowers and other ornaments, a coat of R6-iro-urushi. After drying, 

 follows the second rubbing, and then polishing. Veins of leaves, 

 outlines of clouds, and other prominent lines during this last pro- 

 cess are emphasized with the brush, Shita-makiye and gold dust, 

 but must be rubbed off with charcoal before polishing. (The sample 

 collection in Berlin possesses two tables of this kind of work.) 



5. Monsha-nuri, named after a silk material having similar 

 design, is a peculiar kind of lacquer ornamentation which may be 

 classed here, though it properly does not belong to gold lacquer. 

 But it is also worked by the Makiye-shi, and demands no less 

 artistic skill than the before-mentioned varieties. After the figures 

 (birds, flowers, etc.) are laid on with Shita-makiye, the still moist 

 lacquer is strewn with finely powdered pine charcoal (other kinds 

 of charcoal weaken the lacquer more or less and are not so suitable). 

 This is done with a little sieve which is made by cutting a piece 

 of bamboo cane diagonally across and then covering the end with 

 fine muslin, gauze, or woven wire. When dry, the superfluous 

 powder is swept away with a soft brush, and the entire article 

 receives a coat of R6-iro-urushi. Then follows rubbing and polish- 

 ing. The figures are thus made to have a dull appearance against 

 the shining black surface. The effect is surprising. It is obtained 

 by very simple means, and without the smallest use of metal dust. 

 (There is a table in the Berlin collection, with the Hovvo, or 

 Phoenix of the Chinese mythology, represented in several side and 

 front positions in the above manner.) 



ib). — Taka-inakiye — Raised Gold Lacquer Work. 



In addition to all that has been said in general concerning its 

 production, I will only add that the Taka-makiye-urushi, or the 

 putty which is used therein, has a brilliant black colour when dry. 

 It is not applied directly to the ground reserved by the outlined 

 design, but this is treated beforehand with a coat of Shita-makiye- 

 urushi, which has been strewn with charcoal dust and some orpi- 

 ment. The putty itself is a mixture of black lacquer, lampblack, 

 a little white lead and camphor. The reliefs modelled in it adhere 

 very strongly to the groundwork when dry and have the appear- 

 ance of coats of Naka-nuri. Like these they are rubbed with a 

 pointed piece of charcoal till all the small furrows are smooth. The 

 further processes are much the same as those of plain surfaces, and 

 follow in this order : coat of Shita-makiye, scattering metal dust. 



