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<title>Lacquerware</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Lacquerware</span></span>

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<p><b>Lacquerware</b> are objects decoratively covered with <a href="Lacquer" title="Lacquer">lacquer</a>. Lacquerware includes small or large containers, tableware, a variety of small objects carried by people, and larger objects such as furniture and even coffins painted with lacquer. Before lacquering, the surface is sometimes painted with pictures, inlaid with shell and other materials, or <a href="Carved_lacquer" title="Carved lacquer">carved</a>. The lacquer can be <a href="Maki-e" title="Maki-e">dusted with gold or silver</a> for example <a href="Hirameji" title="Hirameji">Hirameji</a> and given further decorative treatments.

</p><p><a href="East_Asia" title="East Asia">East Asian</a> countries have long traditions of lacquer work, going back several thousand years in the cases of China, Japan and Korea. The best known lacquer, an <a href="Urushiol" title="Urushiol">urushiol</a>-based lacquer common in East Asia, is obtained from the dried sap of <i><a href="Toxicodendron_vernicifluum" title="Toxicodendron vernicifluum">Toxicodendron vernicifluum</a>.</i> Other types of lacquers are processed from a variety of plants and insects. The traditions of lacquer work in <a href="Southeast_Asia" title="Southeast Asia">Southeast Asia</a>, <a href="South_Asia" title="South Asia">South Asia</a> and the <a href="Americas" title="Americas">Americas</a> are also ancient and originated independently. True lacquer is not made outside Asia, but some imitations, such as <a href="Japanning" title="Japanning">Japanning</a> in Europe, or parallel techniques, are often loosely referred to a "lacquer."

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</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:292px;max-width:292px"><div class="trow"><div class="tsingle" style="width:122px;max-width:122px"><div class="thumbimage" style="height:160px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center"><i><a href="Maki-e" title="Maki-e">Maki-e</a></i> <i><a href="Sake" title="Sake">sake</a></i> bottle with <a href="Tokugawa_clan" title="Tokugawa clan">Tokugawa clan</a>'s <a href="Mon_(emblem)" title="Mon (emblem)"><i>mon</i> (emblem)</a>, Japan, <a href="Edo_period" title="Edo period">Edo period</a>.</div></div><div class="tsingle" style="width:166px;max-width:166px"><div class="thumbimage" style="height:160px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center"><i>Diaoqi</i> or <a href="Carved_lacquer" title="Carved lacquer">carved lacquer</a> dish with dragon amid clouds, China, <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a>, <a href="Wanli_Emperor" title="Wanli Emperor">Wanli</a> era (1573–1620)</div></div></div><div class="trow"><div class="tsingle" style="width:152px;max-width:152px"><div class="thumbimage" style="height:99px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Lacquered betel-tray, Vietnam, <a href="Nguy%E1%BB%85n_dynasty" title="Nguyễn dynasty">Nguyễn dynasty</a></div></div><div class="tsingle" style="width:136px;max-width:136px"><div class="thumbimage" style="height:99px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Lacquered box with mother-of-pearl inlays, Korea, <a href="Joseon_period" class="mw-redirect" title="Joseon period">Joseon period</a>, mid to late 18th century</div></div></div></div></div>

<p>The oldest lacquer tree found is from the <a href="J%C5%8Dmon_period" title="Jōmon period">Jōmon period</a> in Japan, 12600 years ago.<sup id="cite_ref-webb_1-0" class="reference"><a href="#cite_note-webb-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-nikkei1106_2-0" class="reference"><a href="#cite_note-nikkei1106-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The oldest lacquerware in the world, burial ornaments which were created in 9th millennium B.C., were unearthed in early Jomon period tombs, at the <a href="Kakinoshima_site" title="Kakinoshima site">Kakinoshima site</a> in <a href="Hakodate" title="Hakodate">Hakodate</a>, <a href="Hokkaido" title="Hokkaido">Hokkaido</a>, Japan.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-kakinoshima_4-0" class="reference"><a href="#cite_note-kakinoshima-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-kakinoshimaj_5-0" class="reference"><a href="#cite_note-kakinoshimaj-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-nikkei1106_2-1" class="reference"><a href="#cite_note-nikkei1106-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

Various prehistoric lacquerwares have been unearthed in China dating back to the <a href="Neolithic" title="Neolithic">Neolithic</a> period and objects. The earliest known lacquerware in China is thought to be a red wooden bowl, which was unearthed at a <a href="Hemudu_culture" title="Hemudu culture">Hemudu culture</a> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 5th millennium BC</span>) site in <a href="Zhejiang" title="Zhejiang">Zhejiang</a>, China.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading3"><h3 id="Chinese_lacquerware">Chinese lacquerware</h3></div>

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</style><div role="note" class="hatnote navigation-not-searchable">See also: <a href="Carved_lacquer" title="Carved lacquer">Carved lacquer</a></div>

<div role="note" class="hatnote navigation-not-searchable">See also: <a href="Coromandel_lacquer" title="Coromandel lacquer">Coromandel lacquer</a></div>

<div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:392px;max-width:392px"><div class="trow"><div class="tsingle" style="width:130px;max-width:130px"><div class="thumbimage" style="height:192px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Drum with and Bird and Tiger Frame, <a href="Chu_(state)" title="Chu (state)">Chu-state</a>, <a href="Spring_and_Autumn_period" title="Spring and Autumn period">Spring and Autumn period</a>.</div></div><div class="tsingle" style="width:258px;max-width:258px"><div class="thumbimage" style="height:192px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Tray with Flowering Plum and Birds, Late <a href="Yuan_dynasty" title="Yuan dynasty">Yuan</a>- Early <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a></div></div></div><div class="trow"><div class="tsingle" style="width:164px;max-width:164px"><div class="thumbimage" style="height:121px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Incense Box with Pommel Scroll Design, <a href="Southern_Song_dynasty" class="mw-redirect" title="Southern Song dynasty">Southern Song dynasty</a></div></div><div class="tsingle" style="width:224px;max-width:224px"><div class="thumbimage" style="height:121px;overflow:hidden"><span typeof="mw:File"></span></div><div class="thumbcaption text-align-center">Armorial <a href="Folding_screen" title="Folding screen">folding screen</a>, <a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a>, 1720–1730</div></div></div></div></div>

<p>During the <a href="Shang_dynasty" title="Shang dynasty">Shang dynasty</a> (ca. 1600–1046 BC) of China, sophisticated lacquer process techniques developed became a highly artistic craft.<sup id="cite_ref-webb_1-1" class="reference"><a href="#cite_note-webb-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>During the <a href="Zhou_dynasty" title="Zhou dynasty">Eastern Zhou</a> period (771–256 BC), lacquerware began appearing in large quantity. This is the earliest era from which notable quantities of lacquerware have survived,<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> with states, later kingdoms, of <a href="Qin_(state)" title="Qin (state)">Qin</a> and <a href="Chu_(state)" title="Chu (state)">Chu</a> producing the largest number of lacquerware. The state of Chu having the geographical advantage and warmer climates enabled dedicated mass cultivation of <a href="Toxicodendron_vernicifluum" title="Toxicodendron vernicifluum">lacquer trees</a> and for lacquerware to become a commercial industry.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Because of this, Chu-state became famous for its lacquerware exports in the neighbouring states in the <a href="Eastern_Zhou_dynasty" class="mw-redirect" title="Eastern Zhou dynasty">Zhou kingdom</a>, with literary references found in books like <a href="Zhuangzi_(book)" title="Zhuangzi (book)">Zhuangzi</a> and <a href="Shangshu" class="mw-redirect" title="Shangshu">Shangshu</a>, and providing some cultural cross-pollination between <a href="Chu_(state)#Culture" title="Chu (state)">the southern culture of Chu</a> and the culture of <a href="Zhongyuan" title="Zhongyuan">Zhongyuan</a>.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p><p>At the time of the <a href="Han_dynasty" title="Han dynasty">Han dynasty</a> (206 BC – 220 AD), special administrations were established to organize and divide labor for the expanding lacquer production in China.<sup id="cite_ref-hangguo_13-0" class="reference"><a href="#cite_note-hangguo-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Elaborate incised decorations were used in lacquerware during the Han dynasty.<sup id="cite_ref-met_14-0" class="reference"><a href="#cite_note-met-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup>

</p><p>In the <a href="Tang_dynasty" title="Tang dynasty">Tang dynasty</a> (618–907), Chinese lacquerware saw a new style marked by the use of sheets of gold or silver made in various shapes, such as birds, animals, and flowers.<sup id="cite_ref-hangguo_13-1" class="reference"><a href="#cite_note-hangguo-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> The cut-outs were affixed onto the surface of the lacquerware, after which new layers of lacquer were applied, dried, and then ground away, so the surface could be polished to reveal the golden or silvery patterns beneath.<sup id="cite_ref-hangguo_13-2" class="reference"><a href="#cite_note-hangguo-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> This was done by a technique known as <i>pingtuo</i>.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Such techniques were time-consuming and costly, but these lacquerware were considered highly refined.<sup id="cite_ref-hangguo_13-3" class="reference"><a href="#cite_note-hangguo-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> It was also the period when the earliest practice of carving lacquerware began.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>

</p><p>The art of inlaid gold, silver, and mother-of-pearl continued from the Tang into the <a href="Song_dynasty" title="Song dynasty">Song dynasty</a> (960–1279).<sup id="cite_ref-wf-23_17-0" class="reference"><a href="#cite_note-wf-23-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Several existing decorative techniques gradually developed further after the 10th century, such as <i><a href="Diaoqi" class="mw-redirect" title="Diaoqi">diaoqi</a></i> (<a href="Carved_lacquer" title="Carved lacquer">carved lacquer</a>) which involves building up layers comprising thinly-applied coats of lacquer and carving it into a three-dimensional design; <i>qiangjin</i> (engraved gold) in which fine lines are incised, an adhesive of lacquer is applied, and gold foil or powder is pressed into the grooves; and <i>diaotian</i> or <i>tianqi</i> (filled-in) in which the lacquer is inlaid with lacquer of another color.<sup id="cite_ref-met_14-1" class="reference"><a href="#cite_note-met-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> A variation of <i>diaotian</i> or <i>tianqi</i> is known as <i>moxian</i> (polish-reveal) in which a design is built up with lacquer in certain areas, the remaining areas are filled with lacquer of a different color, and the entire surface is polished down.<sup id="cite_ref-met_14-2" class="reference"><a href="#cite_note-met-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Especially the art of inlaying lacquer with mother-of-pearl was intensively developed during the Song dynasty.<sup id="cite_ref-met_14-3" class="reference"><a href="#cite_note-met-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-wf-23_17-1" class="reference"><a href="#cite_note-wf-23-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> However, during the Song, the artistic craft also made use of inlaid gold in a process of which is to engrave intricate patterns in the lacquer surface and to fill the <a href="Intaglio_(sculpture)" class="mw-redirect" title="Intaglio (sculpture)">intaglio</a> with gold powder.<sup id="cite_ref-hangguo_13-4" class="reference"><a href="#cite_note-hangguo-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>

</p><p>The knowledge of the Chinese methods of the lacquer process spread from China during the Han, Tang and Song dynasties,<sup id="cite_ref-foreign_18-0" class="reference"><a href="#cite_note-foreign-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> eventually it was introduced to Korea, Japan.<sup id="cite_ref-foreign_18-1" class="reference"><a href="#cite_note-foreign-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> In Japan, the art of lacquerware-making came along with Buddhism and other cultural artifacts from China via the Korean Peninsula during the 8th century,<sup id="cite_ref-ccl_19-0" class="reference"><a href="#cite_note-ccl-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> and carved lacquerware came to Japan from <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a> China during the 14th century.<sup id="cite_ref-ccl_19-1" class="reference"><a href="#cite_note-ccl-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> One of the earliest Japanese techniques for decorating the lacquer surface was, besides painting simple designs, the gold and silver foil inlay of the <a href="Nara_period" title="Nara period">Nara period</a> (710–784). This technique was transmitted from China during the Tang dynasty.<sup id="cite_ref-met_14-4" class="reference"><a href="#cite_note-met-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup>

</p><p><a href="Coromandel_lacquer" title="Coromandel lacquer">Coromandel lacquer</a> is a Chinese export type, so called because it was shipped to European markets via the <a href="Coromandel_coast" class="mw-redirect" title="Coromandel coast">Coromandel coast</a> of India.

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<div class="mw-heading mw-heading4"><h4 id="Gallery">Gallery</h4></div>

<div class="gallerytext">Red lacquer wood bowl from the Chinese <a href="Hemudu_culture" title="Hemudu culture">Hemudu culture</a> dated to 4000–5000 BC, the oldest such piece ever found.</div>

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<div class="gallerytext">Coffin from the <a href="Tomb_of_Marquis_Yi_of_Zeng" title="Tomb of Marquis Yi of Zeng">Tomb of Marquis Yi of Zeng</a></div>

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<div class="gallerytext">Lacquer dou-vessel from the <a href="Tomb_of_Marquis_Yi_of_Zeng" title="Tomb of Marquis Yi of Zeng">Tomb of Marquis Yi of Zeng</a></div>

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<div class="gallerytext">Lacquerware box, <a href="Warring_States_period" title="Warring States period">Warring States period</a></div>

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<div class="gallerytext">Painted Lacquered Wood Mandarin Duck-shaped Case, <a href="Tomb_of_Marquis_Yi_of_Zeng" title="Tomb of Marquis Yi of Zeng">Tomb of Marquis Yi of Zeng</a></div>

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<div class="gallerytext">Lacquered Shield, <a href="Tomb_of_Marquis_Yi_of_Zeng" title="Tomb of Marquis Yi of Zeng">Tomb of Marquis Yi of Zeng</a></div>

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<div class="gallerytext">Lacquered <a href="Xian_(Taoist)" class="mw-redirect" title="Xian (Taoist)"><span title="Chinese-language romanization"><i lang="zh-Latn">yuren</i></span> (羽人) figure</a> on a toad stand, <a href="Chu_(state)" title="Chu (state)">Chu kingdom</a>, Warring States period. </div>

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<div class="gallerytext">Lacquer box in shape of pigs, <a href="Chu_(state)" title="Chu (state)">Chu kingdom</a>, Warring States.</div>

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<div class="gallerytext">Lacquerware box from the Jingmen Tomb (<span lang="zh-Hant">荊門楚墓</span>; <i><span lang="zh-Latn">Jīngmén chǔ mù</span></i>) of the <a href="State_of_Chu" class="mw-redirect" title="State of Chu">State of Chu</a> (704–223 BC)</div>

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<div class="gallerytext">Openwork lacquered screen with animal designs, Warring States period</div>

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<div class="gallerytext">Details on the Chu lacquerware box, depicting men wearing precursors to <i><a href="Hanfu" title="Hanfu">Hanfu</a></i> (i.e. traditional <a href="Silk" title="Silk">silk</a> dress) and riding in a two-horsed <a href="Chariot" title="Chariot">chariot</a></div>

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<div class="gallerytext"><i><a href="Zhuque" class="mw-redirect" title="Zhuque">Zhuque</a></i> <span title="Chinese-language romanization"><i lang="zh-Latn">dou</i></span>-vessel, <a href="Chu_(state)" title="Chu (state)">State of Chu</a> Warring States, </div>

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<div class="gallerytext">Painted lacquer <span title="Chinese-language romanization"><i lang="zh-Latn">hu</i></span>-jar with dragon-shaped handles, Warring States period</div>

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<div class="gallerytext">Lacquer box of phoenix pattern, Warring States.</div>

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<div class="gallerytext">Painted lacquer flat flask with coiled serpents, Warring States.</div>

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<div class="gallerytext">Lacquered winged goblet (<a href="https://zh.wikipedia.org/wiki/%E7%BE%BD%E8%A7%9E" class="extiw external" title="zh:羽觞">zh:羽觞</a>), also known as "eared" or flanged cup (耳杯) from Warring States.</div>

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<div class="gallerytext">Lacquered flanged cup with cloud designs from Warring States.</div>

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<div class="gallerytext">Lacquered winged cup from Warring States with geometric design.</div>

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<div class="gallerytext">Lacquer phoenix cup, <a href="State_of_Chu" class="mw-redirect" title="State of Chu">state of Chu</a>, Warring States.</div>

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<div class="gallerytext">Lacquer box incised with "<a href="Panyu_District" class="mw-redirect" title="Panyu District">Panyu</a>" in <a href="Seal_script" title="Seal script">seal script</a>, from the <a href="Qin_dynasty" title="Qin dynasty">Qin dynasty</a></div>

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<div class="gallerytext">"Eared" or flanged cup (耳杯), Qin or Han dynasty</div>

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<div class="gallerytext">Lacquered flask, Qin or Han dynasty</div>

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<div class="gallerytext">Pig-shaped lacquered case, Qin or Han dynasty</div>

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<div class="gallerytext"><a href="Han_dynasty" title="Han dynasty">Han dynasty</a> lacquerware unearthed at <a href="Mawangdui" title="Mawangdui">Mawangdui</a>, 2nd century BC</div>

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<div class="gallerytext">Lacquerware box from <a href="Mawangdui" title="Mawangdui">Mawangdui</a>, Han dynasty.</div>

</li>

<div class="gallerytext">Lacquerware <a href="Folding_screen" title="Folding screen">screen</a>, Han dynasty</div>

</li>

<div class="gallerytext">Lacquer dish, <a href="Han_dynasty" title="Han dynasty">Han dynasty</a></div>

</li>

<div class="gallerytext">Inkstone and lacquer case, <a href="Western_Han_dynasty" class="mw-redirect" title="Western Han dynasty">Western Han dynasty</a></div>

</li>

<div class="gallerytext">Lacquer dish with cloud-dragon design, <a href="Han_dynasty" title="Han dynasty">Han dynasty</a></div>

</li>

<div class="gallerytext">Lacquer Wine-Cup Container and wine cup set, Han dynasty</div>

</li>

<div class="gallerytext"><a href="Western_Han_dynasty" class="mw-redirect" title="Western Han dynasty">Western Han dynasty</a> Lacquered flanged cup, known as winged goblet (<a href="https://zh.wikipedia.org/wiki/%E7%BE%BD%E8%A7%9E" class="extiw external" title="zh:羽觞">zh:羽觞</a>) or "eared cup"(耳杯) of Prince of Tianchang</div>

</li>

<div class="gallerytext">Lacquered pottery flanged or eared cup, Han dynasty</div>

</li>

<div class="gallerytext">Lacquered flanged cup, known as winged goblet (<a href="https://zh.wikipedia.org/wiki/%E7%BE%BD%E8%A7%9E" class="extiw external" title="zh:羽觞">zh:羽觞</a>), Han dynasty</div>

</li>

<div class="gallerytext">Western Han dynasty lacquer bowl</div>

</li>

<div class="gallerytext">Lacquer flanged cups and dishes from Mawangdui, Han dynasty</div>

</li>

<div class="gallerytext">Lacquered table, <a href="Western_Han_dynasty" class="mw-redirect" title="Western Han dynasty">Western Han dynasty</a></div>

</li>

<div class="gallerytext">Lacquerware in the shape of a man's head, <a href="Western_Han" class="mw-redirect" title="Western Han">Western Han</a> (202 BC – 9 AD), <a href="Yunnan_Provincial_Museum" title="Yunnan Provincial Museum">Yunnan Provincial Museum</a>, Kunming</div>

</li>

<div class="gallerytext">Lacquer dressing case painted with dragon pattern, Han dynasty</div>

</li>

<div class="gallerytext">Lacquered case, Han dynasty</div>

</li>

<div class="gallerytext">Lacquerware coffin of Mawangdui, Han dynasty</div>

</li>

<div class="gallerytext">Second coffin of Mawangdui, Han dynasty</div>

</li>

<div class="gallerytext">Third coffin of Mawangdui, Han dynasty</div>

</li>

<div class="gallerytext">Lidded cosmetic box, <a href="Western_Han_dynasty" class="mw-redirect" title="Western Han dynasty">Western Han dynasty</a>, about 100 BC – 25 AD</div>

</li>

<div class="gallerytext">Lacquerware pot from Mawangdui Tomb.</div>

</li>

<div class="gallerytext">Lacquered cosmetic box, <a href="Han_dynasty" title="Han dynasty">Han dynasty</a></div>

</li>

<div class="gallerytext">Lacquerware <a href="Folding_screen" title="Folding screen">screen</a> of Prince of Nanyue (reconstruction), Han dynasty</div>

</li>

<div class="gallerytext">Oval Lidded Cosmetic Box (Duoyuan He) with Scrolling Clouds, Animals, and Birds, <a href="Han_dynasty" title="Han dynasty">Han dynasty</a></div>

</li>

<div class="gallerytext">Lacquered chest from Mawangdui.</div>

</li>

<div class="gallerytext">Lacquerware flanged drinking vessels and plates from the Mawangdui Tomb.</div>

</li>

<div class="gallerytext"> Chinese painted artwork on the lacquered basket of Lolang, a region of the Han dynasty.</div>

</li>

<div class="gallerytext">Lacquered <span title="Chinese-language romanization"><i lang="zh-Latn">zun</i></span>, Han dynasty</div>

</li>

<div class="gallerytext">Painted lacquerware dish from the tomb of <a href="Zhu_Ran" title="Zhu Ran">Zhu Ran</a> (182–249 AD) in <a href="Anhui_province" class="mw-redirect" title="Anhui province">Anhui province</a>, showing figures wearing <i><a href="Hanfu" title="Hanfu">Hanfu</a></i>, <a href="Eastern_Wu" title="Eastern Wu">Eastern Wu</a>, <a href="Three_Kingdoms_period" class="mw-redirect" title="Three Kingdoms period">Three Kingdoms period</a>.</div>

</li>

<div class="gallerytext">Painted lacquerware tray from the tomb of <a href="Zhu_Ran" title="Zhu Ran">Zhu Ran</a>, <a href="Three_Kingdoms_period" class="mw-redirect" title="Three Kingdoms period">Three Kingdoms period</a>.</div>

</li>

<div class="gallerytext">Black lacquered clogs from the tomb of <a href="Zhu_Ran" title="Zhu Ran">Zhu Ran</a>.</div>

</li>

<div class="gallerytext">Painted lacquerware dish from the tomb of <a href="Zhu_Ran" title="Zhu Ran">Zhu Ran</a>, <a href="Three_Kingdoms_period" class="mw-redirect" title="Three Kingdoms period">Three Kingdoms period</a>.</div>

</li>

<div class="gallerytext">Lacquered mirror with bronze and silver inlays, <a href="Tang_dynasty" title="Tang dynasty">Tang dynasty</a></div>

</li>

<div class="gallerytext">Black lacquered mirror back with four phoenixes, <a href="Tang_dynasty" title="Tang dynasty">Tang dynasty</a> </div>

</li>

<div class="gallerytext">Lacquer mirror box with inlays for a Mirror, Tang - <a href="Song_dynasty" title="Song dynasty">Song dynasty</a></div>

</li>

<div class="gallerytext">Bowl in shape of a flower blossom, Song dynasty</div>

</li>

<div class="gallerytext">Cup with Sword-Pommel Pattern, Song dynasty</div>

</li>

<div class="gallerytext">Box with Pommel Scroll design, Song dynasty</div>

</li>

<div class="gallerytext">Lacquered Buddhist abbot, Song dynasty</div>

</li>

<div class="gallerytext">Black lacquered plum-blossom-shaped cup, Song dynasty</div>

</li>

<div class="gallerytext">Black lacquer on wood core with wickerwork panels, Song dynasty</div>

</li>

<div class="gallerytext">Tablescreen with Calligraphy of <a href="Sima_Guang" title="Sima Guang">Sima Guang</a>'s Family Instructions, Song dynasty</div>

</li>

<div class="gallerytext">Pan in the Form of a Plum Blossom with Birds and Flowers, Late <a href="Song_dynasty" title="Song dynasty">Song dynasty</a></div>

</li>

<div class="gallerytext">Black lacquered box with painted figures, Late <a href="Song_dynasty" title="Song dynasty">Song dynasty</a></div>

</li>

<div class="gallerytext">A lacquered table of the <a href="Yuan_dynasty" title="Yuan dynasty">Yuan dynasty</a>, 14th century, with an inlaid mother-of-pearl decoration of a tree</div>

</li>

<div class="gallerytext"><a href="Carved_lacquer" title="Carved lacquer">Carved lacquer</a> box with the "Sword-Pommel Pattern", <a href="Yuan_dynasty" title="Yuan dynasty">Yuan dynasty</a> (1279–1368)</div>

</li>

<div class="gallerytext">Black lacquer box with pearl inlays, late Yuan to early Ming dynasty.</div>

</li>

<div class="gallerytext">Lacquer Dish with garden scene, Early Ming dynasty</div>

</li>

<div class="gallerytext">Box, <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a>, <a href="Yongle_Emperor" title="Yongle Emperor">Yongle</a> era (1403–1424)</div>

</li>

<div class="gallerytext">Lacquer Box with pommel scroll design, Ming dynasty</div>

</li>

<div class="gallerytext">Octagonal food box with pommel scrolls, Ming dynasty</div>

</li>

<div class="gallerytext"><a href="Carved_lacquer" title="Carved lacquer">Carved lacquer</a> stem cup with the "Sword-Pommel Pattern", mid-<a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a></div>

</li>

<div class="gallerytext">Lacquer box with dragon motifs and inlays, Ming dynasty</div>

</li>

<div class="gallerytext">Covered box with dragon motif, Ming dynassty, Jiajing era, 1522-1566 AD</div>

</li>

<div class="gallerytext"> Carved red lacquer on wood core, Ming dynasty</div>

</li>

<div class="gallerytext">Red Lacquer Wardrobes Inlaid with Various Treasures, Ming dynasty</div>

</li>

<div class="gallerytext">Lacquer cabinet with dragon and cloud motifs, from <a href="Wanli_era" class="mw-redirect" title="Wanli era">Wanli era</a>, <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a></div>

</li>

<div class="gallerytext">Detail of lacquer cabinet with dragon and cloud motifs, <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a></div>

</li>

<div class="gallerytext"> Black lacquered medicine cabinet with dragon patterns from <a href="Wanli_era" class="mw-redirect" title="Wanli era">Wanli era</a>, <a href="Ming_dynasty" title="Ming dynasty">Ming dynasty</a>. </div>

</li>

<div class="gallerytext">Tray with dragons, Ming dynasty.</div>

</li>

<div class="gallerytext">Lacquer table-screen</div>

</li>

<div class="gallerytext">Late Ming - Early Qing dynasty lacquered Case</div>

</li>

<div class="gallerytext">Square dish, <a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a>, <a href="Kangxi" class="mw-redirect" title="Kangxi">Kangxi</a> era (1662–1722)</div>

</li>

<div class="gallerytext"><a href="Carved_lacquer" title="Carved lacquer">Carved lacquer</a> cup with a poem composed by the <a href="Qianlong_Emperor" title="Qianlong Emperor">Qianlong Emperor</a> (1735–1796), <a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a></div>

</li>

<div class="gallerytext">Carved lacquer <a href="Calabash" title="Calabash">calabash</a>-bottle, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquered Scripture Box, Qing dynasty</div>

</li>

<div class="gallerytext"><a href="Coromandel_lacquer" title="Coromandel lacquer">Coromandel lacquer</a> <a href="Folding_screen" title="Folding screen">folding screen</a> with a courtly progress in lacquer, <a href="Mother_of_pearl" class="mw-redirect" title="Mother of pearl">mother of pearl</a>, <a href="Tortoiseshell" title="Tortoiseshell">tortoiseshell</a> and gold, <a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a>, 1750–1800</div>

</li>

<div class="gallerytext">Carved lacquer <a href="Ruyi_(scepter)" title="Ruyi (scepter)">ruyi</a>, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquer canopy bed, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquer canopy bed, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquer table and chairs, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquered armor of the <a href="Dali_Kingdom" title="Dali Kingdom">Dali Kingdom</a></div>

</li>

<div class="gallerytext"><a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a> Lacquered Box</div>

</li>

<div class="gallerytext">Woven Bamboo Lacquer Fruit Case, <a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a></div>

</li>

<div class="gallerytext"><a href="Qing_dynasty" title="Qing dynasty">Qing dynasty</a> Lacquered Box</div>

</li>

<div class="gallerytext">Qing dynasty carved lacquer snuff bottle.</div>

</li>

<div class="gallerytext">Carved lacquer chair, Qing dynasty</div>

</li>

<div class="gallerytext">Lacquerware set by the <a href="Yi_people" title="Yi people">Yi people</a>.</div>

</li>

</ul>

<div class="mw-heading mw-heading3"><h3 id="Korean_lacquerware">Korean lacquerware</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Najeonchilgi" title="Najeonchilgi">Najeonchilgi</a></div>

<p>The very term 'Najeonchilgi' is a combination of two particular words: 'najeon'– mother-of-pearl and ‘chilgi’ which refers to lacquerware. ‘najeon’ refers to the composite material which forms the inner shiny shell layer.

The Three Kingdom period (57 B.C. – 668 A.D.) witnessed the introduction of the first method and the second one was introduced during the Shilla period (668–935 A.D.). The Goryeo dynasty (918–1392), considered the golden period of this craft, was influenced by Buddhism.

</p>

<div class="mw-heading mw-heading3"><h3 id="Japanese_lacquerware">Japanese lacquerware</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Japanese_lacquerware" title="Japanese lacquerware">Japanese lacquerware</a></div>

<p>The term for lacquer is <i>urushi</i> (漆), source of the English hybrid word "<a href="Urushiol" title="Urushiol">urushiol</a>". Etymologically, <i>urushi</i> may be related to the words <i>uruwashii</i> ("beautiful") or <i>uruoi</i> ("watered", "profitable", "favored"), due speculatively to their value or shiny appearance, or perhaps the humidifying rooms used in production of lacquered wares. The term "<a href="Japanning" title="Japanning">Japanning</a>" in the 17th century is a term for the technique used by Europe to emulate Asian lacquer, derived from the then famous Japanese lacquer.

</p><p>The general characteristic of Japanese lacquerware is the widespread use of various <i><a href="Maki-e" title="Maki-e">Maki-e</a></i> techniques compared to other countries. As a result, there are many works in which relatively vivid gold and silver patterns and pictures shine on the black base of lacquerware, and the entire lacquerware is covered with shiny gold and silver grains.<sup id="cite_ref-murata24_20-0" class="reference"><a href="#cite_note-murata24-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading4"><h4 id="History_and_regional_production">History and regional production</h4></div>

<p>Primitive lacquer was used in Japan as early as 12,600 BC, during the <a href="J%C5%8Dmon_period" title="Jōmon period">Jōmon period</a>.<sup id="cite_ref-nikkei1106_2-2" class="reference"><a href="#cite_note-nikkei1106-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

</p><p>Lacquer was used in Japan as early as 7000 BCE, during the <a href="J%C5%8Dmon_period" title="Jōmon period">Jōmon period</a>. Evidence for the earliest lacquerware was discovered at the Kakinoshima "B" Excavation Site in <a href="Hokkaido" title="Hokkaido">Hokkaido</a>.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> These objects were discovered in a pit grave dating from the first half of the Initial Jōmon period (approx. 9,000 years ago)<sup id="cite_ref-nikkei1106_2-3" class="reference"><a href="#cite_note-nikkei1106-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-kakinoshima_4-1" class="reference"><a href="#cite_note-kakinoshima-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-kakinoshimaj_5-1" class="reference"><a href="#cite_note-kakinoshimaj-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Japanese lacquering technology may have been invented by the Jōmon. They learned to refine <i>urushi</i> (poison oak sap) – the process taking several months. <a href="Iron(III)_oxide" title="Iron(III) oxide">Iron oxide (colcothar)</a> and <a href="Cinnabar" title="Cinnabar">cinnabar</a> (mercury sulfide) were used for producing red lacquer.<sup id="cite_ref-autogenerated1_22-0" class="reference"><a href="#cite_note-autogenerated1-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Lacquer was used both on pottery, and on different types of wooden items. In some cases, burial clothes for the dead were also lacquered.<sup id="cite_ref-autogenerated1_22-1" class="reference"><a href="#cite_note-autogenerated1-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Many lacquered objects have turned up during the Early Jōmon period; this indicates that this was an established part of Jōmon culture.<sup id="cite_ref-autogenerated1_22-2" class="reference"><a href="#cite_note-autogenerated1-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Experts are divided on whether Jōmon lacquer was derived from Chinese techniques, or invented independently. For example, Mark Hudson believes that “Jomon lacquer technology was developed independently in Japan rather than being introduced from China as once believed”.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-autogenerated1_22-3" class="reference"><a href="#cite_note-autogenerated1-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup>

</p><p>During the Asuka and <a href="Nara_period" title="Nara period">Nara periods</a>, between the 7th and 8th centuries, Chinese lacquer art forms were imported to Japan.

</p>

<p>In the <a href="Heian_period" title="Heian period">Heian period</a> (794–1185), various <i>Maki-e</i> techniques characteristic of Japanese lacquerware were developed. While the method of drawing designs with a brush by dissolving gold powder in lacquer is a common technique in other countries, the method of drawing designs with lacquer and then sprinkling gold, silver, or copper powder of various sizes and shapes on top to polish them was developed in Japan. This made it possible to make the gold and silver of lacquerware brighter than before.<sup id="cite_ref-murata24_20-1" class="reference"><a href="#cite_note-murata24-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p><p>In the <a href="Kamakura_period" title="Kamakura period">Kamakura period</a> (1185–1333), carved lacquer from the Song dynasty of China was imported to Japan. However, many Japanese lacquer craftsmen did not adopt the Chinese method of depositing lacquer and then carving it; instead, they created <a href="Kamakurabori" class="mw-redirect" title="Kamakurabori">Kamakurabori</a>, a method of carving wood and then coating lacquer.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup>

</p>

<p>Japanese lacquerware was abundantly exported to China where the <a href="Ming_dynasty" title="Ming dynasty">Ming</a> and <a href="Qing_dynasty" title="Qing dynasty">Qing</a> rulers generally described Japanese lacquerwares as " foreign lacquer " ( yangqi ). Yang Ming, and famous lacquer man <a href="Wuyue_culture" title="Wuyue culture">Zhejiang</a>, made annotations for A Record of Decoration with Lacquer, ... People of the Ming dynasty once recorded: “The decoration art with lacquer coated with gold originated (maki-e) from Japan". Yang in the reign of <a href="Xuande_Emperor" title="Xuande Emperor">Xuande</a> of the Ming dynasty made a trip to Japan to study Japanese techniques, and a Japanese visited a Chinese imperial workshop in <a href="Beijing" title="Beijing">Beijing</a> during the Ming dynasty. It is well documented that the <a href="Yongzheng_Emperor" title="Yongzheng Emperor">Yongzheng Emperor</a> had a formidable interest in Japanese lacquer, <i>yangqi</i>, and this was reflected in many of the works produced in the Imperial workshops during his reign.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> In the <a href="Azuchi%E2%80%93Momoyama_period" title="Azuchi–Momoyama period">Azuchi-Momoyama period</a> (1568–1600) also made its way into <a href="New_Spain" title="New Spain">Colonial Mexico</a> (<a href="Manila_galleon" title="Manila galleon">Manila Galleons</a>) and Europe by <a href="Nanban_trade" title="Nanban trade">Nanban trade</a>. Japanese lacquerware attracted European aristocrats and missionaries from Europe, and western style chests and church furniture were exported in response to their requests.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup>

</p>

<p>The <a href="Edo_period" title="Edo period">Edo period</a> (1603–1868) saw an increase in the focused cultivation of lacquer trees and the development of the techniques used. In the 18th century colored lacquers came into wider use. With the development of economy and culture, the artistic quality of lacquered furniture has improved. <a href="Hon'ami_K%C5%8Detsu" title="Hon'ami Kōetsu">Hon'ami Kōetsu</a> and <a href="Ogata_K%C5%8Drin" title="Ogata Kōrin">Ogata Kōrin</a> brought the designs of the <a href="Rinpa_school" title="Rinpa school">Rinpa school</a> of painting into lacquerware. From the middle of the Edo period, <i><a href="Inro" title="Inro">inro</a></i> became popular as men's accessories, and wealthy merchants of the <i><a href="Ch%C5%8Dnin" title="Chōnin">chōnin</a></i> class and <a href="Samurai" title="Samurai">samurai</a> class collected <i>inro</i> of high aesthetic value, precisely designed with lacquer.<sup id="cite_ref-murata104_33-0" class="reference"><a href="#cite_note-murata104-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-saimitsu104_34-0" class="reference"><a href="#cite_note-saimitsu104-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> <a href="Marie_Antoinette" title="Marie Antoinette">Marie Antoinette</a> and <a href="Maria_Theresa" title="Maria Theresa">Maria Theresa</a> are known collectors of Japanese lacquerware and their collections are now often exhibited in the <a href="Louvre" title="Louvre">Louvre</a> and the <a href="Palace_of_Versailles" title="Palace of Versailles">Palace of Versailles</a>.<sup id="cite_ref-murata24_20-2" class="reference"><a href="#cite_note-murata24-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p><p>In the <a href="Meiji_(era)" class="mw-redirect" title="Meiji (era)">Meiji period</a> (1868–1912), Richly-decorated lacquerwares in original designs were popular domestically, and even more so with Western buyers during this period of European and American <a href="Japonisme" title="Japonisme">fascination with Japanese art</a>. <a href="Shibata_Zeshin" title="Shibata Zeshin">Shibata Zeshin</a>'s lacquer work was especially popular.<sup id="cite_ref-FOOTNOTEEarle1999186–187_35-0" class="reference"><a href="#cite_note-FOOTNOTEEarle1999186–187-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> In addition, lacquerware called <i>Shibayama</i>, which was created in the Edo period, became popular for its showy style, inlaid with gold, silver, shellfish, ivory, coral, tortoise shell and ceramics, and reached its peak during this period. Lacquerware called <i>Somada</i>, which was created in the Edo period and characterized by regular patterns of finely cut seashells, <a href="Gold_leaf" title="Gold leaf">gold leaf</a> and silver leaf, also became popular during this period.<sup id="cite_ref-saimitsu60_36-0" class="reference"><a href="#cite_note-saimitsu60-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> The government took an active interest in the art export market, promoting Japan's lacquers and other decorative arts at a succession of <a href="World's_fair" title="World's fair">world's fairs</a>.<sup id="cite_ref-FOOTNOTEEarle199930–31_37-0" class="reference"><a href="#cite_note-FOOTNOTEEarle199930–31-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> Lacquer from Japanese workshops was recognised as technically superior to what could be produced anywhere else in the world.<sup id="cite_ref-FOOTNOTEEarle1999187_39-0" class="reference"><a href="#cite_note-FOOTNOTEEarle1999187-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup>

</p><p>Today, the <a href="Government_of_Japan" title="Government of Japan">Japanese government</a> has designated excellent lacquer artists as <a href="Living_National_Treasure_(Japan)" title="Living National Treasure (Japan)">Living National Treasures</a> and is encouraging them to make lacquerware. Lacquerware is produced throughout the Japanese archipelago, with many regional techniques and variations. Besides the very old Kamakura tradition mentioned above (and still alive today), the port town of <a href="Wajima%2C_Ishikawa" title="Wajima, Ishikawa">Wajima</a> provides a good example of regional lacquerware. <i><a href="Wajima-nuri" title="Wajima-nuri">Wajima-nuri</a></i>, dating back to the 16th century, is characterized by use of the elm-like Japanese zelkova (<i><a href="Keyaki" class="mw-redirect" title="Keyaki">keyaki</a></i> 欅), powdered earth, and delicate features formed from cloth. (See the Japanese article, <a href="https://ja.wikipedia.org/wiki/%E8%BC%AA%E5%B3%B6%E5%A1%97" class="extiw external" title="ja:輪島塗">輪島塗</a>. A more complete list of regional lacquer traditions is available in <a href="https://ja.wikipedia.org/wiki/%E6%97%A5%E6%9C%AC%E3%81%AE%E6%BC%86%E5%99%A8#生産地" class="extiw external" title="ja:日本の漆器">the Japanese article</a>.)

</p>

<div class="gallerytext">Tiered Stand with Designs Alluding to <i><a href="The_Tale_of_Genji" title="The Tale of Genji">The Tale of Genji</a></i>, by <a href="Hon'ami_K%C5%8Detsu" title="Hon'ami Kōetsu">Hon'ami Kōetsu</a>, 17th century</div>

</li>

<div class="gallerytext">Reading Stand with <a href="Mount_Yoshino" title="Mount Yoshino">Mount Yoshino</a>, Edo period, 18th century</div>

</li>

<div class="gallerytext">Lacquered exterior of <i><a href="Wakizashi" title="Wakizashi">wakizashi</a></i> Fusamune, Edo period, 18th century</div>

</li>

<div class="gallerytext"><i>Maki-e</i> <i><a href="Mount_Fuji" title="Mount Fuji">Fuji</a> Tagonoura</i>, by <a href="Shibata_Zeshin" title="Shibata Zeshin">Shibata Zeshin</a>, <a href="Meiji_(era)" class="mw-redirect" title="Meiji (era)">Meiji period</a>, 1872</div>

</li>

<div class="gallerytext"><i>Maki-e</i> Writing-table, by Shirayama Shosai, Meiji period, 19th century, <a href="Khalili_Collection_of_Japanese_Art" title="Khalili Collection of Japanese Art">Khalili Collection of Japanese Art</a></div>

</li>

<div class="gallerytext">by <a href="Living_National_Treasure_(Japan)" title="Living National Treasure (Japan)">Living National Treasure</a> Gonroku Matsuda, <a href="Sh%C5%8Dwa_(1926%E2%80%931989)" class="mw-redirect" title="Shōwa (1926–1989)">Showa period</a>, 1960</div>

</li>

</ul>

<div class="mw-heading mw-heading4"><h4 id="Ryukyuan_lacquerware">Ryukyuan lacquerware</h4></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Ryukyuan_lacquerware" title="Ryukyuan lacquerware">Ryukyuan lacquerware</a></div>

<p>Ryukyuan lacquerware is one of the chief artistic products of the <a href="Ryukyu_Islands" title="Ryukyu Islands">Ryukyu Islands</a> (today <a href="Okinawa_Prefecture" title="Okinawa Prefecture">Okinawa Prefecture</a> of <a href="Japan" title="Japan">Japan</a>); it is quite distinct from the lacquerware found among the surrounding cultures. Nevertheless, Chinese and Japanese influences are present.

</p>

<div class="mw-heading mw-heading2"><h2 id="Southeast_Asia">Southeast Asia</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Burmese_lacquerware">Burmese lacquerware</h3></div>

<p><i>Yun-de</i> is lacquerware in <a href="Burmese_language" title="Burmese language">Burmese</a>, and the art is called <i>Pan yun</i> (<span title="Burmese-language text"><span lang="my"><a href="https://my.wikipedia.org/wiki/%E1%80%95%E1%80%94%E1%80%BA%E1%80%B8%E1%80%9A%E1%80%BD%E1%80%94%E1%80%BA%E1%80%B8" class="extiw external" title="my:ပန်းယွန်း">ပန်းယွန်း</a></span></span>). The lacquer is the sap tapped from the varnish tree or <i>Thitsee</i> (<i><a href="Gluta_usitata" title="Gluta usitata">Gluta usitata</a></i>, syn. <i>Melanorrhoea usitata</i>) that grows wild in the forests of <a href="Myanmar" title="Myanmar">Myanmar</a> (formerly Burma).<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> It is straw-colored but turns black on exposure to air. When brushed in or coated on, it forms a hard glossy smooth surface resistant to a degree from the effects of exposure to moisture or heat.

</p>

<div class="mw-heading mw-heading4"><h4 id="History">History</h4></div>

<p>The earliest fragments of lacquerware basketry found in <a href="Bagan" title="Bagan">Bagan</a> dates back to the 13th century. Evidence for older lacquerware in Bagan remains inconclusive.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup>

</p><p><a href="Bayinnaung" title="Bayinnaung">Bayinnaung</a>'s conquest and subjugation in 1555–1562 of <a href="Manipur" title="Manipur">Manipur</a>, <a href="Bhamo" title="Bhamo">Bhamo</a>, Zinme (<a href="Chiang_Mai" title="Chiang Mai">Chiang Mai</a>), Linzin (<a href="Lan_Xang" title="Lan Xang">Lan Xang</a>), and up the Taping and Shweli rivers in the direction of <a href="Yunnan" title="Yunnan">Yunnan</a> brought back large numbers of skilled craftsmen into Burma. It is thought that the finer sort of Burmese lacquerware, called Yun, was introduced during this period by imported artisans belonging to the Yun or <a href="Northern_Thai_people" title="Northern Thai people">Northern Thai</a> people of the Chiang Mai region.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading4"><h4 id="Manufacture_and_design">Manufacture and design</h4></div>

<p>Lacquer vessels, boxes and trays have a coiled or woven bamboo-strip base often mixed with horsehair. The thitsee may be mixed with ashes or sawdust to form a putty-like substance called <i>thayo</i> which can be sculpted. The object is coated layer upon layer with thitsee and thayo to make a smooth surface, polished and engraved with intricate designs, commonly using red, green and yellow colors on a red or black background. <i>Shwezawa</i> is a distinctive form in its use of gold leaf to fill in the designs on a black background.<sup id="cite_ref-Blurton_43-0" class="reference"><a href="#cite_note-Blurton-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-ao_44-0" class="reference"><a href="#cite_note-ao-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup>

</p><p>Palace scenes, scenes from the <a href="Jataka" class="mw-redirect" title="Jataka">Jataka</a> tales, and the signs of the Burmese <a href="Zodiac" title="Zodiac">Zodiac</a> are popular designs and some vessels may be encrusted with glass mosaic or semi-precious stones in gold relief.<sup id="cite_ref-ao_44-1" class="reference"><a href="#cite_note-ao-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> The objects are all handmade and the designs and engraving done free-hand. It may take three to four months to finish a small vessel but perhaps over a year for a larger piece. The finished product is a result of teamwork and not crafted by a single person.<sup id="cite_ref-Blurton_43-1" class="reference"><a href="#cite_note-Blurton-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading4"><h4 id="Forms">Forms</h4></div>

<p>The most distinctive vessel is probably a rice bowl on a stem with a spired lid for monks called <i>hsun ok</i>. <i>Lahpet ok</i> is a shallow dish with a lid and has a number of compartments for serving <i><a href="Lahpet" title="Lahpet">lahpet</a></i> (pickled tea) with its various accompaniments. Stackable <a href="Tiffin_carrier" title="Tiffin carrier">tiffin carriers</a> fastened with a single handle or <i>hsun gyaink</i> are usually plain red or black. <i><a href="Daunglan" title="Daunglan">Daunglan</a></i> are low tables for meals and may be simple broad based or have three curved feet in animal or floral designs with a lid. Water carafes or <i>yeidagaung</i> with a cup doubling as a lid, and vases are also among lacquerware still in use in many monasteries.<sup id="cite_ref-Blurton_43-2" class="reference"><a href="#cite_note-Blurton-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-ao_44-2" class="reference"><a href="#cite_note-ao-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup>

</p><p>Various round boxes with lids, small and large, are known as <i>yun-it</i> including ones for <a href="Paan" class="mw-redirect" title="Paan">paan</a> called <i>kun-it</i> (<a href="Burmese_language" title="Burmese language">Burmese</a>: <span lang="my"><a href="https://my.wikipedia.org/wiki/%E1%80%80%E1%80%BD%E1%80%99%E1%80%BA%E1%80%B8%E1%80%A1%E1%80%85%E1%80%BA" class="extiw external" title="my:ကွမ်းအစ်">ကွမ်းအစ်</a></span>; betel boxes). <i>Yun titta</i> are rectangular boxes for storing various articles including <i>peisa</i> or palm leaf manuscripts when they are called <i>sadaik titta</i>. Pedestal dishes or small trays with a stem with or without a lid are known as <i>kalat</i> for serving delicacies or offering flowers to royalty or the <a href="Gautama_Buddha" class="mw-redirect" title="Gautama Buddha">Buddha</a>. Theatrical troupes and musicians have their lacquerware in costumes, masks, head-dresses, and musical instruments, some of them stored and carried in lacquer trunks.<sup id="cite_ref-ao_44-3" class="reference"><a href="#cite_note-ao-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> Boxes in the shape of a pumpkin or a bird such as the owl, which is believed to bring luck, or the <i><a href="Hamsa_bird" class="mw-redirect" title="Hamsa bird">hintha</a></i> (<a href="Ruddy_shelduck" title="Ruddy shelduck">Brahminy duck</a>) are common too. Screens and small polygonal tables are also made for the tourist trade today.

</p>

<div class="mw-heading mw-heading4"><h4 id="Industry">Industry</h4></div>

<p><a href="Bagan" title="Bagan">Bagan</a> is the major centre for the lacquerware industry where the handicraft has been established for nearly two centuries, and still practiced in the traditional manner. Here a government school of lacquerware was founded in the 1920s. Since plastics, porcelain and metal have superseded lacquer in most everyday utensils, it is today manufactured in large workshops mainly for tourists who come to see the ancient temples of Bagan. At the village of Kyaukka near <a href="Monywa" title="Monywa">Monywa</a> in the <a href="Chindwin_River" title="Chindwin River">Chindwin</a> valley, however, sturdy lacquer utensils are still produced for everyday use mainly in plain black.<sup id="cite_ref-Blurton_43-3" class="reference"><a href="#cite_note-Blurton-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup>

</p><p>A decline in the number of visitors combined with the cost of resin, which has seen a 40-fold rise in 15 years, has led to the closure of over two-thirds of more than 200 lacquerware workshops in Bagan.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Vietnamese_lacquer_painting_and_lacquerware">Vietnamese lacquer painting and lacquerware</h3></div>

<p><i>Sơn mài</i> is a painting technique in <a href="Vietnam" title="Vietnam">Vietnam</a>. It developed from the painters of the Hanoi <a href="EBAI" class="mw-redirect" title="EBAI">EBAI</a> in the 1930s and today is counted a national painting style with many famous painters.

</p><p>In 1924 the <a href="%C3%89cole_des_Beaux-Arts_de_l'Indochine" class="mw-redirect" title="École des Beaux-Arts de l'Indochine">Ecole des Beaux Arts</a> was established in <a href="Hanoi" title="Hanoi">Hanoi</a>. This institution was to be the birthplace of the revitalised art of lacquer painting. In 1934 the school opened its lacquer department and it was from here that well known contributors to the art including; Bui Trang Chuoc, Nguyen Van Binh, Nguyen Khang, Nguyen Duc Nung, Nguyen Tien Chung, and Pham Van Don would emerge.

</p><p>It was the first generation of Vietnamese students of the Indochina School of Fine Art during the 1930s, who elevated the craft of lacquer painting to a truly fine art. Less interested in decor than their craftsmen predecessors, it was also these men who would begin a series of artistic innovations from which craftsmen producing purely utilitarian or decorative pieces would also benefit.

</p><p>Creating images with crushed eggshell, painting pigment over gold and tin foil and adding sand to lacquer were all techniques developed by those first students. The metallic color lacquerware for which Vietnamese craftsmen are rightly famous, was first developed by artists experimenting with many innovative techniques.

</p><p>After the <a href="Reunification_Palace" class="mw-redirect" title="Reunification Palace">reunification</a>, the art of lacquerware was slowly dying out in Vietnam. But since the 1980s, the government has recognized it as a vital cultural and economic force and has encouraged the business community to invest in the craft. As a result, we see a resurgence of lacquerware and a proliferation of lacquerware products from Vietnam.

</p>

<div class="mw-heading mw-heading2"><h2 id="South_Asia">South Asia</h2></div>

<div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="Shellac" title="Shellac">Shellac</a> and <a href="Lac_(resin)" title="Lac (resin)">Lac (resin)</a></div>

<p>In India, the insect <a href="Lac_(resin)" title="Lac (resin)">lac</a> or <a href="Shellac" title="Shellac">shellac</a> was used since ancient times. Shellac is the secretion of the lac bug (<i>Tachardia lacca</i> Kerr. or <i>Laccifer lacca</i>). It is used for wood finish, lacquerware, skin cosmetic, ornaments, dye for textiles, production of different grades of shellac for surface coating.<sup id="cite_ref-FAO1995Ch5_46-0" class="reference"><a href="#cite_note-FAO1995Ch5-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> The <a href="Atharvaveda" title="Atharvaveda">Atharvaveda</a> text 1200 BCE – 1000 BCE devotes a chapter to 'lākshā' and its various uses.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Americas">Americas</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Barniz_de_Pasto_technique">Barniz de Pasto technique</h3></div>

<p>Barniz de Pasto (<a href="https://es.wikipedia.org/wiki/Barniz_de_Pasto" class="extiw external" title="es:Barniz de Pasto">es</a>) is a lacquer-like varnish technique originating in the <a href="Pre-Columbian_era" title="Pre-Columbian era">Pre-Columbian era</a> that is a specialty of <a href="Pasto%2C_Colombia" title="Pasto, Colombia">Pasto, Colombia</a>. It is made by chewing the resin of the Andean mopa-mopa shrub (<i><a href="Elaeagia" title="Elaeagia">Elaeagia pastoensis</a></i>) into thin layers, and then painting it and applying it to a wood, metal, clay or glass surface using heated stones.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> Historically, the technique was applied to wooden <i><a href="https://en.wiktionary.org/wiki/qiru" class="extiw external" title="wikt:qiru">keros</a></i>, drinking vessels.

</p>

<div class="mw-heading mw-heading3"><h3 id="Mexican_lacquerware">Mexican lacquerware</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Mexican_lacquerware" title="Mexican lacquerware">Mexican lacquerware</a></div>

<p>Known in <a href="Mexican_Spanish" title="Mexican Spanish">Mexican Spanish</a> as <i>laca</i> or <i>maque</i> (from Japanese <i><a href="Maki-e" title="Maki-e">maki-e</a></i><sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup>), Mexican lacquer has independent origins from Asian lacquer. In the pre-Hispanic period, a substance from the larvae of <a href="Coccus_(insect)" title="Coccus (insect)">aje</a> scale insects and/or oil from the <a href="Chia_seed" title="Chia seed">chia seed</a> were mixed with powdered minerals to create protective coatings and decorative designs. During this period, the process was almost always applied to dried gourds, especially to make the cups that <a href="Mesoamerica" title="Mesoamerica">Mesoamerican</a> nobility drank chocolate from.

</p><p>After the <a href="Conquest_of_Mexico" class="mw-redirect" title="Conquest of Mexico">Conquest</a>, the Spanish had indigenous craftsmen apply the technique to European style furniture and other items, changing the decorative motifs and color schemes, but the process and materials remained mostly the same. Asian lacquerware and artisans brought by the <i><a href="Nao_de_China" class="mw-redirect" title="Nao de China">Nao de China</a></i> also had an influence on the style and motifs of colonial Mexican lacquerware. Today, workshops creating lacquerware are limited to <a href="Olinal%C3%A1" title="Olinalá">Olinalá</a>, Temalacatzingo and <a href="Acapetlahuaya" title="Acapetlahuaya">Acapetlahuaya</a> in the state of Guerrero, <a href="Uruapan" title="Uruapan">Uruapan</a> and <a href="P%C3%A1tzcuaro" title="Pátzcuaro">Pátzcuaro</a> in Michoacán and <a href="Chiapa_de_Corzo%2C_Chiapas" title="Chiapa de Corzo, Chiapas">Chiapa de Corzo</a> in Chiapas. The most popular modern lacquerware are small boxes, sometimes known as <i>cajitas de Olinalá</i>.

</p>

<ul><li><a href="Chinese_lacquerware_table" title="Chinese lacquerware table">Chinese lacquerware table</a></li>

<li><a href="Japanning" title="Japanning">Japanning</a></li>

<li><a href="Lacquer_painting" title="Lacquer painting">Lacquer painting</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><cite id="CITEREFWebb2000" class="citation book cs1">Webb, Marianne (2000). <i>Lacquer: Technology and conservation</i>. Oxford: Butterworth-Heinemann. p. 3. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-7506-4412-9</bdi>.</cite></span>

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<li id="cite_note-kakinoshima-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-kakinoshima_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-kakinoshima_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20200707075655/https://en.visit-hokkaido.jp:443/what-to-do/kakinoshima-jomon-archaeological-site/">"Kakinoshima Jomon Archaeological Site"</a>. Hokkaido Prefectural Government, Hokkaido Tourism Organization. Archived from <a rel="nofollow" class="external text" href="https://en.visit-hokkaido.jp/what-to-do/kakinoshima-jomon-archaeological-site/">the original</a> on 7 July 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">13 November</span> 2022</span>.</cite></span>

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<li id="cite_note-kakinoshimaj-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-kakinoshimaj_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-kakinoshimaj_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20200128174441/http://www.pref.hokkaido.lg.jp/ks/bns/jomon/remains_is_kakinoshima01.htm">Kakinoshima Excavation Site</a> Hokkaido Government</span>

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<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><cite id="CITEREFFung1994" class="citation book cs1">Fung, Christopher (1994). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/china00robe/page/52">"The Beginnings of Settled Life"</a></span>. <i>China: Ancient Culture, Modern Land</i>. Norman: University of Oklahoma Press. p. <a rel="nofollow" class="external text" href="https://archive.org/details/china00robe/page/52">52</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780806126838</bdi>.</cite></span>

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<cite id="CITEREFLi2011" class="citation book cs1">Li, Li (2011). <a rel="nofollow" class="external text" href="https://archive.org/details/chinasculturalre0000lili_b4j8/page/139"><i>China's Cultural Relics</i></a> (3rd ed.). Cambridge: Cambridge University Press. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/chinasculturalre0000lili_b4j8/page/139">139–140</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780521186568</bdi>.</cite></span>

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<cite id="CITEREFBagley1999" class="citation book cs1">Bagley, Robert (1999). "Shang Archaeology". <i>The Cambridge History of Ancient China: From the Origins of Civilization to 221 B.C</i>. Cambridge: Cambridge University Press. p. 178. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780521470308</bdi>.</cite></span>

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<cite id="CITEREFKleiner2012" class="citation book cs1">Kleiner, Fred S. (January 2012). <i>Gardner's Art Through The Ages: A Global History</i> (14th ed.). Boston: Wadsworth, Cengage Learning. p. 995. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780840030597</bdi>.</cite></span>

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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><cite id="CITEREF倪仁杰汤云叶2011" class="citation journal cs1">倪仁杰; 汤云叶 (October 2011). "浅述战国楚地漆器工业造型艺术". <i>工业设计</i>.</cite></span>

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<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><cite id="CITEREF杜妍洁2019" class="citation journal cs1">杜妍洁 (May 2019). "基于楚式髹漆工艺的现代文化创意产品设计研究". <i>美与时代</i> (796): 97.</cite></span>

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<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><cite id="CITEREF桂俊荣2011" class="citation book cs1">桂俊荣 (2011). <i>楚漆器文化艺术特质研究</i>. Beijing: 中国社会科学出版社. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-7516104675</bdi>.</cite></span>

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<cite id="CITEREFHang,_JianGuo,_Qiuhui2006" class="citation book cs1">Hang, Jian; Guo, Qiuhui (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9PxZ5JWoTRsC"><i>Chinese arts & crafts</i></a>. Translated by Zhu, Youruo; Song, Peiming. Beijing: China Intercontinental Press. pp. <span class="nowrap">54–</span>58. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-7-5085-0963-1</bdi>.</cite></span>

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<li id="cite_note-met-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-met_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-met_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-met_14-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-met_14-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-met_14-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.metmuseum.org/toah/hd/elac/hd_elac.htm">"Lacquerware of East Asia"</a>. The Metropolitan Museum of Art. October 2004<span class="reference-accessdate">. Retrieved <span class="nowrap">21 September</span> 2011</span>.</cite></span>

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<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><cite id="CITEREFWatt,_James_C._Y.Ford,_Barbara_Brennan1991" class="citation book cs1">Watt, James C. Y.; Ford, Barbara Brennan (1991). <i>East Asian lacquer: the Florence and Herbert Irving Collection</i>. New York: Metropolitan Museum of Art. pp. <span class="nowrap">20–</span>21. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780870996221</bdi>.</cite></span>

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<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><cite id="CITEREFWebb2000" class="citation book cs1">Webb, Marianne (2000). <i>Lacquer: Technology and Conservation</i>. Oxford: Butterworth-Heinemann. p. 42. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780750644129</bdi>.</cite></span>

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<li id="cite_note-wf-23-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-wf-23_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-wf-23_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFWatt,_James_C._Y.Ford,_Barbara_Brennan1991" class="citation book cs1">Watt, James C. Y.; Ford, Barbara Brennan (1991). <i>East Asian lacquer: the Florence and Herbert Irving Collection</i>. New York: Metropolitan Museum of Art. p. 23. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780870996221</bdi>.</cite></span>

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<li id="cite_note-foreign-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-foreign_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-foreign_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFInstitute_of_the_History_of_Natural_Sciences_and_Chinese_Academy_of_Sciences1983" class="citation book cs1">Institute of the History of Natural Sciences and Chinese Academy of Sciences, ed. (1983). <i>Ancient China's technology and science</i>. Beijing: Foreign Languages Press. p. 211. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-8351-1001-3</bdi>.</cite></span>

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<li id="cite_note-ccl-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-ccl_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ccl_19-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFAkio_Haino" class="citation web cs1">Akio Haino. <a rel="nofollow" class="external text" href="http://www.kyohaku.go.jp/eng/dictio/data/shikki/chou.htm">"Chinese Carved Lacquerware"</a>. <a href="Kyoto_National_Museum" title="Kyoto National Museum">Kyoto National Museum</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2007-08-16</span></span>.</cite></span>

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<li id="cite_note-murata24-20"><span class="mw-cite-backlink">^ <a href="#cite_ref-murata24_20-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-murata24_20-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-murata24_20-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Masayuki Murata. <i>明治工芸入門</i> p. 24. Me no Me, 2017 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-4907211110</bdi></span>

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<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Hokkaido's Minamikayabe Town, Kakinoshima site B (北海道の南茅部町の垣ノ島B遺跡)</span>

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<li id="cite_note-autogenerated1-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-autogenerated1_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-autogenerated1_22-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-autogenerated1_22-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-autogenerated1_22-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://heritageofjapan.wordpress.com/just-what-was-so-amazing-about-jomon-japan/ways-of-the-jomon-world-2/jomon-crafts-and-what-they-were-for/">Jomon crafts and what they were for</a> heritageofjapan.wordpress.com</span>

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<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20010305204407/http://coombs.anu.edu.au/SpecialProj/APM/TXT/hudson-m-02-96.html">Sannai Maruyama: A New View of Prehistoric Japan</a>, Mark Hudson, Asia-Pacific Magazine, No. 2 May 1996 pp. 47–48.</span>

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<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170618214433/http://ch.kanagawa-museum.jp/dm/kamakura/rekisi/k_rekisi02.html">Carved lacquer and Lacquered sculpture</a> <a href="Kanagawa_Prefectural_Museum_of_Cultural_History" title="Kanagawa Prefectural Museum of Cultural History">Kanagawa Prefectural Museum of Cultural History</a></span>

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<li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.christies.com/en/lot/lot-5978882">"AN IMPERIAL GOLD-LACQUERED INCENSE STAND"</a>. <i>www.christies.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-19</span></span>.</cite></span>

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<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><cite id="CITEREFKleutghen2017" class="citation journal cs1">Kleutghen, Kristina (2017). "Imports and Imitations: The Taste for Japanese Lacquer in Eighteenth-Century China and France". <i>Journal for Early Modern Cultural Studies</i>. <b>17</b> (2): <span class="nowrap">175–</span>206. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1353%2Fjem.2017.0013">10.1353/jem.2017.0013</a>. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1531-0485">1531-0485</a>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/7308043513">7308043513</a>. <a href="S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:165251830">165251830</a>.</cite></span>

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<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><cite id="CITEREFBayerova,_Tatjana.2015" class="citation book cs1">Bayerova, Tatjana. (2015). <i>Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900): Lacquerware & Porcelain. Conference 2013 Postprints</i>. Griesser-Stermschegg, Martina., Trummer, Manfred., Schreiner, Manfred., Iby, Elfriede., Krist, Gabriela. Köln/Wien: Böhlau Verlag. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-205-20192-2</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/960757571">960757571</a>.</cite></span>

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<li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><cite id="CITEREFVictoria_and_Albert_Museum.1998" class="citation book cs1">Victoria and Albert Museum. (1998). <i>The Victoria and Albert Museum: a bibliography and exhibition chronology, 1852–1996</i>. James, Elizabeth, 1957-. London: Routledge. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-315-07424-5</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/900484109">900484109</a>.</cite></span>

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<li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><cite class="citation book cs1"><i>THIRTY GREAT INVENTIONS OF CHINA from millet agriculture to artemisinin</i>. [S.l.]: SPRINGER VERLAG, SINGAPOR. 2020. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-981-15-6525-0</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1227059965">1227059965</a>.</cite></span>

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<li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><cite id="CITEREFMoreno2013" class="citation journal cs1">Moreno, Pilar Cabañas (January 2013). <a rel="nofollow" class="external text" href="https://www.academia.edu/43481357">"Traces of Japanese art in New Spain: screens, "enconchados" and maques"</a>. <i>Kawamura, Yayoi (Ed.), Namban Lacquer Remained in Spain. 400 Years After the. Keichô Embassy, Madrid, Ministerio de Cultura y Deporte y Japan Foundation, Pp. 85-106, Cd Versión</i>.</cite></span>

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<li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20210416014842/https://japan-and-mexico-meet.tumblr.com/?og=1">"Namban & Enconchado: Japan and Mexico Meet"</a>. <i>japan-and-mexico-meet.tumblr.com</i>. Archived from <a rel="nofollow" class="external text" href="https://japan-and-mexico-meet.tumblr.com/?og=1">the original</a> on 2021-04-16<span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-19</span></span>.</cite></span>

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<li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20191225065626/http://en.urushi-joboji.com/urushi">Urushi once attracted the world</a> urushi-joboji.com</span>

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<li id="cite_note-murata104-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-murata104_33-0">^</a></b></span> <span class="reference-text">Masayuki Murata. <i>明治工芸入門</i> p. 104. Me no Me, 2017 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-4907211110</bdi></span>

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<li id="cite_note-saimitsu104-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-saimitsu104_34-0">^</a></b></span> <span class="reference-text">Yūji Yamashita. <i>明治の細密工芸</i> p. 80. Heibonsha, 2014 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-4582922172</bdi></span>

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<li id="cite_note-FOOTNOTEEarle1999186–187-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEarle1999186–187_35-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEarle1999">Earle 1999</a>, pp. 186–187.</span>

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<li id="cite_note-saimitsu60-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-saimitsu60_36-0">^</a></b></span> <span class="reference-text">Yūji Yamashita. <i>明治の細密工芸</i> pp. 60–61. Heibonsha, 2014 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-4582922172</bdi></span>

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<li id="cite_note-FOOTNOTEEarle199930–31-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEarle199930–31_37-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEarle1999">Earle 1999</a>, pp. 30–31.</span>

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<li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><cite id="CITEREFLiddell2013" class="citation web cs1">Liddell, C. B. (2013-12-14). <a rel="nofollow" class="external text" href="https://www.japantimes.co.jp/culture/2013/12/14/books/book-reviews/japonisme-and-the-rise-of-the-modern-art-movement-the-arts-of-the-meiji-period/">"[Review:] Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period"</a>. <i>The Japan Times</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2020-03-19</span></span>.</cite></span>

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<li id="cite_note-FOOTNOTEEarle1999187-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEarle1999187_39-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEarle1999">Earle 1999</a>, p. 187.</span>

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<li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://dict.die.net/melanorrhoea%20usitatissima/">"Melanorrhoea usitatissima"</a>. die.net online dictionary<span class="reference-accessdate">. Retrieved <span class="nowrap">2007-03-31</span></span>.</cite></span>

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<li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><cite id="CITEREFD.G.E._Hall1960" class="citation book cs1">D.G.E. Hall (1960). <a rel="nofollow" class="external text" href="http://mission.itu.ch/MISSIONS/Myanmar/Burma/bur_history.pd"><i>Burma</i></a>. Hutchinson University Library. p. 42.</cite></span>

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<li id="cite_note-Blurton-43"><span class="mw-cite-backlink">^ <a href="#cite_ref-Blurton_43-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Blurton_43-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Blurton_43-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Blurton_43-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFBlurton2002" class="citation web cs1">Blurton, Richard (2002). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070404024334/http://www.fathom.com/feature/190126/index.html">"A Path to Burmese Culture: The Art of Lacquer"</a>. The British Museum/Fathom. Archived from <a rel="nofollow" class="external text" href="http://www.fathom.com/feature/190126/index.html">the original</a> on 2007-04-04<span class="reference-accessdate">. Retrieved <span class="nowrap">2007-03-31</span></span>.</cite></span>

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<li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><cite id="CITEREFRoberts2014" class="citation book cs1">Roberts, Edward A. (2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=y4tvAwAAQBAJ&q=lacquer+makie+maque&pg=PA170"><i>A Comprehensive Etymological Dictionary of the Spanish Language with Families of Words based on Indo-European Roots</i></a>. Xlibris Corporation. p. 170. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781493191130</bdi><span class="reference-accessdate">. Retrieved <span class="nowrap">19 May</span> 2017</span>.</cite></span>

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</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><cite class="citation book cs1"><a rel="nofollow" class="external text" href="http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/67989"><i>East Asian lacquer: the Florence and Herbert Irving collection</i></a>. New York: The Metropolitan Museum of Art. 1991.</cite></li>

<li><cite class="citation book cs1"><a rel="nofollow" class="external text" href="http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/78101"><i>Japanese Lacquer, 1600–1900: selections from the Charles A. Greenfield collection</i></a>. New York: The Metropolitan Museum of Art. 1980.</cite></li>

<li><cite id="CITEREFKawaiNakagawaKawaiMiyakoshi1992" class="citation journal cs1">Kawai, K.; Nakagawa, M.; Kawai, K.; Miyakoshi, T.; Miyashita, K.; Asami, T. (1992). "Heat treatment of Japanese lacquerware renders it hypoallergenic". <i>Contact Dermatitis</i>. <b>27</b> (4): <span class="nowrap">244–</span>9. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1111%2Fj.1600-0536.1992.tb03254.x">10.1111/j.1600-0536.1992.tb03254.x</a>. <a href="PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/1451490">1451490</a>. <a href="S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:12497249">12497249</a>.</cite></li>

<li><cite id="CITEREFKawaiNakagawaKawaiLiew1991" class="citation journal cs1">Kawai, K.; Nakagawa, M.; Kawai, K.; Liew, F. M.; Yasuno, H. (1991). "Hyposensitization to urushiol among Japanese lacquer craftsmen: results of patch tests on students learning the art of lacquerware". <i>Contact Dermatitis</i>. <b>25</b> (5): <span class="nowrap">290–</span>5. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1111%2Fj.1600-0536.1991.tb01876.x">10.1111/j.1600-0536.1991.tb01876.x</a>. <a href="PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/1839723">1839723</a>. <a href="S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:9841818">9841818</a>.</cite></li>

<li><cite id="CITEREFEarle1999" class="citation book cs1">Earle, Joe (1999). <i>Splendors of Meiji: treasures of imperial Japan: masterpieces from the Khalili Collection</i>. St. Petersburg, Fla.: Broughton International Inc. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1874780137</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/42476594">42476594</a>.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Lacquerware" class="extiw external" title="commons:Category:Lacquerware">Lacquerware</a></span>.</div></div>

</div>

<ul><li><a rel="nofollow" class="external text" href="http://www.kyohaku.go.jp/eng/dictio/shikki/index.html">"Lacquerware Stories"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171222021705/http://www.kyohaku.go.jp/eng/dictio/shikki/index.html">Archived</a> 2017-12-22 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> at the <a href="Kyoto_National_Museum" title="Kyoto National Museum">Kyoto National Museum</a>.</li>

<li><a rel="nofollow" class="external text" href="http://www.museum-fuer-lackkunst.de/en/museum_of_lacquer_art">Museum of Lacquer Art Münster</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231130021419/https://www.museum-fuer-lackkunst.de/en/museum_of_lacquer_art">Archived</a> 2023-11-30 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Museum für Lackkunst in Germany</li>

<li><a rel="nofollow" class="external text" href="http://denverartmuseum.org/article/staff-blogs/craft-and-care-east-asian-lacquer">The Craft and Care of East Asian Lacquer</a> by <a href="Denver_Art_Museum" title="Denver Art Museum">Denver Art Museum</a></li>

<li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=NJknAo0temI">Bone, Flesh, Skin: the making of Japanese Lacquer</a> YouTube video by <a href="Getty_Museum" class="mw-redirect" title="Getty Museum">Getty Museum</a></li>

<li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=OFFJXpiXxR8">Intro to Urushi</a> YouTube video by Dr.Kenji Toki at FabLabKamakura</li>

<li><a rel="nofollow" class="external text" href="http://www.metmuseum.org/toah/hd/elac/hd_elac.htm">Lacquerware of East Asia</a> essay at the <a href="Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">MET Museum</a></li></ul>

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