Pear-skinned

A type of jimaki (ground maki-e). Its name comes from its resemblance to the skin of a pear. Maki-e powder can vary in quality and shape depending on the manufacturing method, but the nashiji powder used here is made by rolling flat flounder powder even thinner and finer, and sprinkling it on a thin layer of lacquer. After drying, it is coated with sukiurushi lacquer and allowed to dry thoroughly, and then polished with hozumi charcoal until the powder is no longer exposed and smooth. It began in the Kamakura period and developed in the Muromachi period, with the term atsu-nashiji appearing. In the Momoyama period, e-nashiji, which was incorporated into patterns, became popular, and was used in contrast to kintameji to enhance the color effect, and is particularly common in Kodaiji maki-e. During the Edo period, techniques also diversified, and various nashiji techniques appeared, including Tsume nashiji, which is sown so that there are no gaps, Mura nashiji, which has a speckled pattern, Kanoko nashiji, which is mixed with flounder powder, and Gyobu nashiji, which is applied with gold leaf. Incidentally, the Chinese saikin is a type of nashiji.

[Goka loyal retainer]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

蒔絵(まきえ)の地蒔(じまき)の一種。梨の肌に似ていることからの名称。蒔絵粉(ふん)は製法によって精粗、形状の異なりが生じるが、これに使用する梨地粉は平目粉(ひらめふん)をさらに平らに圧延して薄く細かにしたもので、漆を薄く塗った上にこれを蒔き、乾燥後、透漆(すきうるし)を塗って十分に乾かし、粉の露出しない程度に朴炭(ほおずみ)で研ぎ出して滑らかにする。鎌倉時代に始まり、室町時代に発達して厚梨地という語も出現する。桃山時代には文様のなかに取り入れられた絵(え)梨地が流行し、金溜地(きんためじ)と対照的に使用されて色彩効果をあげ、とくに高台寺(こうだいじ)蒔絵によくみられる。江戸時代には手法も多様化し、すきまのないように蒔く詰(つめ)梨地、斑文(はんもん)状に表した村(むら)梨地、平目粉を混ぜる鹿(か)の子(こ)梨地、金箔(きんぱく)を置く刑部(ぎょうぶ)梨地などが現れた。ちなみに、中国の灑金(さいきん)は梨地のたぐいである。

［郷家忠臣］

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