Antique, Japanese Lacquer Large Box Maki-e, Late 19th Century (Edo Period), Gold Gilt, Floral-Birds, 31 cm / 12.2 Inch. Length: 31 cm / 12.2 Inch. Width: 22,5 cm / 8.85 Inch. Height: 6,3 cm / 2.48 Inch. Weight: 723 gr / 1.59 lb. Pre-owned, in a good condition considering age, but with a small bumb and minor scratches on top lid, with a lacquer crack in 1 corner and with some scratches and a bumb with a small lacquer piece missing underneath the box (last 4 photos). A magnificent piece of Japanese Lacquerware and we quote. Japanese lacquerware is a tradition that dates back to 5000 BC, during the Jomon period of Japanese prehistory. Made from the toxic sap of the Japanese lacquer tree (native to China and India), the specific lacquer can be found on pictures, decorative pieces like Buddha statues, bento boxes, ceramics, furniture, a variety of prints, and more. The varied and extensive Japanese lacquerware history can be evidenced by some of the earliest examples found at the Kakinoshima “B” Excavation Site in Hokkaido, northern Japan. Dating back about 7,000 years, these pieces of pottery and other objects were discovered in a pit grave. During this time, this lacquer was frequently used on ceramics and wooden ancient Japanese lacquerware items. In some cases, the deceased were even buried in lacquered clothing. The term lacquer refers to hard, often shiny finishes that are applied to a variety of materials, especially wood. Japanese lacquerware covers a wide range of fine and decorative arts made of wood, basketry, leather and more. Types of lacquerware include decorative pottery, dinnerware and tea sets, vases, and pieces of furniture. Lacquerware is coated with a specific type of lacquer made from poison oak sap, or urushi, that originates from the Chinese or Japanese lacquer tree. The term urushi is also used to describe Japanese lacquerware itself. Growing up to around 65 feet tall, these trees are native to China and the Indian subcontinent. They are cultivated and tapped in China, Korea, and Japan. The sap is treated, dyed, and dried, then applied (typically in three coats) on objects to form a hard, smooth, waterproof surface layer. Technology to make lacquerware is believed to have been by the Jomon, as Japanese lacquerware was very much part of their culture. The process to make the lacquer was time-consuming, taking several months. Traditionally, the Japanese lacquerware craft has been practiced by extremely skilled artisans. Experts are torn as to whether the lacquer of the Jomon people was influenced by Chinese techniques. However, many traditional Japanese traditions over history have been influenced by China. During this time, Japanese painter and lacquerer Ogata Korin became known as a lacquerware master, painting exquisite pictures on wooden boxes and other objects. Today, Japanese lacquerware can be found in various shapes, colors, and sizes. In the early days, however, the types of objects that could be made with lacquer were limited. Various boxes of all shapes and sizes were created during the Edo period. Some of these boxes stored poems, other papers, cosmetics, and more. Boxes called suziribako, were used specifically for writing tools: ink slate, water droppers, and brushes. During the Edo period, inro became widely produced with lacquer. These were traditional Japanese tiny containers with multiple compartments, which hung from obi ties around the waist. Obi held medicine and other small items, and were covered with lacquer and intricate designs which made for impressive fashion accessories. Other commonly seen and collected objects include Japanese lacquerware boxes, pitchers, tea sets, and furniture including ornately decorated chests and cabinets. In Japanese lacquerware history, one of the most exquisite objects known today is the Tamamushi Shrine dating back to the mid-7th century. Materials that make up this shrine include lacquered hinokii, or Japanese cyprus, and camphor wood. Scholars suggest that paintings were made with the technique known as mitsuda-e, which is an ancient type of oil painting that involves the use of perilla oil with litharge, or the mineral form of lead oxide. Another common technique for making Japanese lacquerware is the method of sprinkling decorative gold or silver powder onto lacquer, which is called maki-e. Ikkanbari: A 17th-century technique to make tea wares, involving the application of layers of lacquer to molded paper. Iro-urushi: The technique of adding pigments to clear lacquer. Natural pigments were limited to red, yellow, green, brown, and black until 19th-century Western innovations led to the introduction of artificial colors. Raden: Lacquerware technique that involves the use of seashell inlays and bone as adornments to wood-based pieces. Shunkei-nuri: A process that became popular in the 17th century to create Shunkei lacquerware. It involves using transparent lacquer on wood stained in yellow or red. Tea wares were commonly produced this way. Urushi-hanga: A technique that involves making a printing plate from dry lacquer, which was carved and used as a block print with pigmented (non-natural) colors. Item will always be in an extra safe box. We make every effort to provide accurate and honest information about our listings. Thanks for looking, please check out all our other listings and have a wonderful day. Track Page Views With.