Urushi-e — Wikipedia
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L’ URUSHI-E ( Lacquer painting , literal sense “lacquered images” ) refers to two types of Japanese works of art: painting with real lacquer and certain forms of wood prints which use ordinary ink but which it is said to recall the darkness and thickness of the black lacquer. I’ war-water comes from the sap of a tree of the same name ( Toxicodendron vernicifluum or Japan varnish).
The prints URUSHI-E are made using thick and dark black lines and are sometimes colored by hand. The ink is mixed with an animal glue, called nikawa , which it thickens and to which it gives a brilliant shine that makes it look like lacquer. Most often, the artist does not apply it to the whole draw but aims to highlight a particular element such as an obi or the hair of a character, to give him shine and to make the image overall more luxurious.
Prints that include elements URUSHI-E Also likely to contain mica, metallic dust and other components which reinforce the appearance, quality and value of the works. The technique, which experienced its greatest popularity at the start of XVIII It is SièCle, SE RENCONTRE DANS LES œUvRes d’Okumura masanobu, torii kiyomasu niShimura shiganaga et torii kiyonobu, entre Autres.
In painting, the term refers to the use of colorful lacquers produced by mixing pigments with a transparent varnish. The use of colored lacquer for painting dates back to prehistoric Jōmon period and becomes particularly popular during the nara era ( VIII It is century) when a large number of works are made using red lacquer on a black background. Until XIX It is A century, however, the use of natural pigments restricted the colors available for artists in red, black, yellow, green and light brown.
Shibata Zeshin (1807-1891) is particularly renowned for its innovations in this field and is probably the first to use lacquer not as a simple decorative element (for painting of boxes, furniture and pottery), but as a support of painted rollers. Zeshin experiences intensively with different substances that it mixes with lacquer to create a variety of effects, including the simulation of the appearance of different metals (iron, gold, bronze, copper), and imitating appearance and texture of western oil painting.
As in other plants of the genre Toxicodondron , the sap of the war-water (The tree) contains urushiol, a non -volatile oil which causes allergic reactions, to which sensitivity is gradually developing by repeated contacts (see climbing sumac). I’ war-water (The lacquer) not yet hardened contains this substance which is still active. The author of the presents, who already has a well -developed sensitivity to the substance by contacts with Toxicodendron radicans , has developed a skin reaction after indirect contact with equipment recently used in the preparation of a violin lacquer. The lacquer, once hardened [ first ] By exposure to humidity at sufficient ambient temperatures (21 to 25 ° C, with relative humidity from 75 to 85%, for three days at each layer) [ 2 ] would lose its toxic properties to the point of being able to be used as a dish coating [ first ] .
Bibliography [ modifier | Modifier and code ]
- U. A. Casal, « Japanese Art Laquers », Tokyo, Sophia University, 1961, Monumento Japanese , volume 18.
- Günther Heckmann, URUSHI NO WAZA: JAPANLACK TECH , Ellwangen, nihon art publishers, (ISBN 3-9805755-1-9 ) .
- John J. Quin, Jack C. Thompson (ed.), Urushi: the technology of Japanese lacquer , Portland (Oregon), Caber Press, 1995 (ISBN 1-887719-01-6 ) .
- Christine Shimizu, Urushi, Japan lacquers , Paris, Flammarion, (ISBN 2-08-012088-3 ) .
- Elmar Weinmayr, Nurimono – Japanese paint master of the present , Verlag Fred Jahn, Munich, 1996 (ISBN 3-930090-04-X ) .
- Recension : Yoshino Tomio, Japanese Laquer Ware , in Monumento Japanese , vol. 15, n you 3-4, October 1959-January 1960, p. 464-466 .
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