Makie - Makie

Japanese: 蒔絵 - まきえ

A decorative technique in lacquer art. It refers to the technique and work in which a pattern is drawn with lacquer, and before it dries, metal powder (gold, silver, tin, etc.) or pigment powder (colored powder) is sprinkled on it and allowed to harden to form a shape. Basically, there are three types of maki-e: Hira maki-e, Togidashi maki-e, and Taka maki-e, but there are many application techniques. It is usually applied to the lacquer surface, but sometimes it is applied directly to the wood base, and sometimes it is combined with raden and kirikane. There are two theories about the name: one is that it comes from "makkinru" (final gold and silver) in the Shosoin "National Treasure Book," and the other is that it comes from the sprinkling of gold and silver powder. The word maki-e can be found earliest in the Heian period story "The Tale of the Bamboo Cutter" (completed in the first half of the 10th century).

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history

The origins of maki-e date back to the Nara period, and the technique of Suekane-sō, which decorated the clouds, lions and arabesque patterns on the scabbard of the Gold and Silver Inlaid Chinese Sword (8th century) in the Shosoin Repository, was the forerunner of the Togidashi maki-e that eventually became popular in the Heian period. In October 1986 (Showa 61), a piece of wood thought to be part of a cabinet decorated with gold and silver maki-e floral patterns was discovered at the Heijo Palace ruins, and this is an excellent document for learning about the development of maki-e in the same period. Maki-e from the early Heian period inherited the style of expression from the Nara period, with a rich sense of volume and a symmetrical composition. A representative example is the Hosoge Karyobinga Makiesokusashibako (National Treasure) at Ninna-ji Temple in Kyoto, which is recorded in the Engi Gyoki as having been made in the 19th year of the Engi era (919). From the mid-Heian period, the style became more Japanese, and as can be seen in the Nobe ni Suzume Makiesokutebako (Kongo-ji Temple, Osaka Prefecture), there was a shift towards more emotional themes and more static compositions, and it was also used in combination with mother-of-pearl. Representative examples include the Sawachidori Raden Makiesoku Small Chinese Chest (Kongo-bu-ji Temple, Wakayama Prefecture) and the Katawaguruma Raden Makiesokutebako (Tokyo National Museum), both of which are national treasures. In the late Heian period, maki-e was also used for furnishings for the nobility and architectural decoration, and it was around this time that hira maki-e appeared. The Buddhist painting on the inner lid of the Kyokarabitsu (basket for reading Buddhist scriptures) at Nanatsudera in Nagoya, painted in 1176 (Angen 2), was made using this technique.

In the Kamakura period, ikekakeji (a rich hanging ground pattern) with an entire surface was favored, and was used on the national treasure of Tsurugaoka Hachimangu Shrine in Kamakura, as well as the sacred weapons and treasures of the shrine. The technique of takamakie (high-quality lacquer work) with a sense of volume emerged around this time, and signs of this can be seen in the national treasure of the plum lacquer work box (a national treasure) of Mishima Taisha Shrine in Shizuoka Prefecture, but it matured in the Muromachi period, and especially in the Higashiyama period around Ashikaga Yoshimasa, high-quality famous items were created by Koami Michinaga and Igarashi Shinsai. Their successors became active as lacquer artists employed by the shogunate, and the Shionoyama lacquer-e inkstone box (Kyoto National Museum) and Kasugayama lacquer-e inkstone box (Nezu Museum, Tokyo) are well known. During the Momoyama period, a decorative style based on flat lacquer, as seen in the favorite items of Toyotomi Hideyoshi, was born and became popular as Kodaiji lacquer.

On the other hand, contact with the West gave birth to Nanban crafts, and we see the birth of Nanban maki-e, as typified by the Nanbanjin maki-e Kouki (Zuikoji Temple, Kyoto). In the Edo period, traditional techniques coexisted with new ventures, and technique reached its peak, but skilled techniques were also seen in the inro (seal cases) that were popular among the economically powerful townspeople of the time, and many master craftsmen were produced. Among them, Honami Koetsu left behind masterpieces that made full use of innovative designs and techniques, such as the Funahashi maki-e inkstone box (National Treasure, Tokyo National Museum), and Ogata Korin, who inherited his style, also produced masterpieces such as the Yatsuhashi maki-e mother-of-pearl inkstone box (National Treasure, Tokyo National Museum).

However, in modern times, the demand for lacquerware decreased due to changes in lifestyle, and after World War II, in order to pass on traditional techniques, maki-e works were protected as cultural assets, and the younger generation is now producing them with the aim of developing local industries.

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technique

The process of making a rough sketch for maki-e is called okime, and the design is first transferred to a piece of thin paper with ink, then turned over and traced with a red lacquer brush soaked in e-urushi (lacquer made by adding half a heated amount of red iron oxide to the lacquer and filtering it). The thin paper is then pasted onto the surface of the vessel, and the design is transferred by rubbing it with a finger or spatula. Then, powdered with eraser or whetstone powder is applied to cotton wool and rubbed onto the surface, bringing out the design clearly and creating the rough sketch.

Looking at the most basic technique of Hiramaki-e, first, a picture is painted with lacquer according to the outline. A small container containing the lacquer is covered with paraffin paper to prevent dust from entering. The maki-e artist wears a small palette-like object made from buffalo horn called a tsumeban on his left thumb, and using a red lacquer brush, he traces the picture while adjusting the lacquer with the tsumeban; this is called jigaki. Next comes the powder sprinkling step, where the maki-e powder is sprinkled with a hair stick or powder tube, so that the powder only sticks to the areas where the lacquer has already been applied. Once the maki-e has been applied beautifully, the powder is hardened by placing the piece in a high-temperature drying bath to dry it, then rubbing the lacquer, and once it has dried, it is polished with charcoal, seed oil, and horn powder to finish it off. This can be done by sprinkling the powder on as is, or by using the Togidashi Maki-e method, in which the powder is slightly coarse and the entire surface, not just the painted parts, is covered with lacquer before being polished.

Takamakie is a technique in which the pattern is raised up, and materials used for the raising (raising) (raising to make it thicker) include rust (lacquer mixed with whetstone powder), charcoal powder, burnt tin powder, whetstone powder, ground powder, and sawdust, with charcoal powder usually being used. Charcoal powder is sprinkled on the jigoji with a hair stick, a process called shitamakiire, and the piece is dried in a bath before being coated with lacquer. After the charcoal powder hardens, the piece is again coated with lacquer and polished several times to harden it, and then makie powder is sprinkled on, and the rest is finished in the same way as togidashi makie.

There are various names for this style depending on the materials used for the finishing and the maki-e powder, and they include urushi-age takamaki-e, which is finished with taka-age urushi lacquer, black maki-e, which uses only black-colored lacquer, tin takamaki-e, which is finished with tin powder, sabi-age maki-e, which is finished with rust lacquer, and shishi-ai togidashi maki-e (hishi-ai maki-e), which uses a combination of takamaki-e and togidashi maki-e to create a three-dimensional shape.

Other applied techniques include tsukegaki (applied drawing), kakiwari (drawn division), abise maki (bathed in water), and togikiri maki-e (ground cutting). Techniques applied to the ground of a space are called jimaki (ground maki), and include heijin (flat dust), herameji (flat joint), nashiji (pear-skinned), and ikakeji (wet hanging).

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Materials and Tools

Materials used for maki-e powder include gold and silver from ancient times, as well as aokin (an alloy of gold and silver), hakuro (an alloy of tin and lead), copper, platinum, and shibuichi (a mixture of tin powder and charcoal powder), but in modern times, tin, brass, and anodized aluminum are also used instead of gold and silver.

These metal powders include filing powder, which was invented in the Heian period, as well as erased powder, flat powder, round powder, semi-round powder, flounder powder, and pear-skin powder. Traditionally, filing powder is made by rolling coarse powder grated with a file over an iron bar, but erased powder and flat powder have been used more frequently since the early modern period. In addition to metal powders, dry lacquer powder made by powdering colored lacquer, vermilion, yellow ores, blue lacquer powder, lake pigments, and white pigment powder are also used, and when using kirikane, gold or silver is rolled into a thin sheet and pasted on with lacquer as an adhesive.

As for tools, in addition to general lacquerware making tools, maki-e brushes are the most important. There are various types according to the purpose, and they can be broadly divided into line drawing brushes and ground coating brushes. Line drawing brushes include Neji brushes and Wakige brushes made from mouse hair, while for ground coating there are Unoke brushes and Komou brushes. Powder tubes are used to spread powder, and are made of bird quills or bamboo tubes covered with silk or gauze. Other tools include brushes, hair sticks, powder trays, powder suppressors, rests for powder, brush racks for brushes, brush washers, Kirikane scissors, and Kirikane plates.

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"Japanese Art 35: Japanese Lacquer Crafts" by Yuzuru Okada (1975, Shogakukan)" ▽ "Maki-e" edited by Hirokazu Arakawa (1969, Shibundo)" ▽ "Japanese Lacquer Crafts: Maki-e I-IV" by Yuzuru Okada, Gonroku Matsuda, Hirokazu Arakawa, et al. (1978, Chuokoron-Shinsha)

[Reference item] | Kodaiji Makie | Lacquerware

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

漆工芸(しっこうげい)の加飾の一技法。漆(うるし)で文様を描き、乾かぬうちに金属粉（金、銀、錫(すず)など）や顔料の粉（色粉）を蒔き、固着させて造形する技法、および作品をいう。基本的には平(ひら)蒔絵、研出(とぎだし)蒔絵、高(たか)蒔絵の3種に分けられるが、これの応用技法も多い。普通は漆面に施すが、ときには木地(きじ)に直接施すこともあり、また螺鈿(らでん)や切金(きりかね)を組み合わせることもある。名称は、正倉院の『国家珍宝帳』記載の「末金鏤(まっきんる)」に由来するとする説、また金・銀の粉末を蒔くことによるとする説があり、平安時代の物語『竹取物語』（10世紀前半成立）に蒔絵の語がみえるのが最古である。

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歴史

蒔絵の源流は奈良時代にまでさかのぼり、正倉院の金銀鈿荘唐大刀(きんぎんでんかざりのからたち)（8世紀）の鞘(さや)に雲、獅子(しし)、唐草(からくさ)文を施した末金鏤の技法は、やがて平安時代に盛行する研出蒔絵の先駆をなす。1986年（昭和61）10月、平城宮跡から金銀蒔絵の花文を施した厨子(ずし)の一部とみられる木片が発見されたが、これは同時代の蒔絵の発達を知る好資料である。平安前期の蒔絵は、奈良時代の表現様式を受け継いで豊かな量感と対称的な構成をもつ。『延喜御記(えんぎぎょき)』に延喜19年（919）の作と記される京都・仁和(にんな)寺の宝相華迦陵頻伽蒔絵冊子箱(ほっそうげかりょうびんがまきえそくさっしばこ)（国宝）はその代表例といえる。平安中期から和様化が進み、野辺雀蒔絵手箱(のべにすずめまきえてばこ)（大阪府・金剛寺）にみられるように情緒的題材、静的構成へと移行し、螺鈿との併用も行われた。代表例にいずれも国宝の沢千鳥螺鈿蒔絵小唐櫃(さわちどりらでんまきえこからびつ)（和歌山県・金剛峯寺(こんごうぶじ)）、片輪車螺鈿蒔絵手箱(かたわぐるまらでんまきえてばこ)（東京国立博物館）がある。平安後期には貴族の調度や建築装飾にも蒔絵が用いられたが、このころに平蒔絵が現れ、1176年（安元2）に描かれた名古屋市七寺(ななつでら)の経唐櫃(きょうからびつ)の中蓋(なかぶた)に描かれた仏画はこの技法による。

　鎌倉時代になると全面に地蒔(じまき)する沃懸地(いかけじ)が好まれ、鎌倉・鶴岡八幡宮(つるがおかはちまんぐう)の籬菊螺鈿蒔絵硯箱(まがきにきくらでんまきえすずりばこ)（国宝）をはじめ、同宮の武器類神宝にも施されている。このころから量感をもつ高蒔絵の技法がおこり、その兆しは静岡県・三嶋大社の梅蒔絵手箱（国宝）にもみられるが、室町時代に入って熟成し、とくに東山期の足利義政(あしかがよしまさ)の周辺で、幸阿弥(こうあみ)道長や五十嵐信斎(いがらししんさい)の手になる格調高い名物ものがつくられた。彼らの後継者は将軍家お抱え蒔絵師として活躍するようになるが、塩山(しおのやま)蒔絵硯箱（京都国立博物館）、春日山(かすがやま)蒔絵硯箱（東京・根津美術館）が知られる。桃山時代には豊臣(とよとみ)秀吉の愛用品にみるような平蒔絵を主とした装飾的な一様式が生まれ、高台寺(こうだいじ)蒔絵として盛行した。

　一方、西洋との接触によって南蛮工芸が生まれ、南蛮人蒔絵交椅(こうき)（京都・瑞光(ずいこう)寺）に代表される南蛮蒔絵の誕生をみる。江戸時代に入ると、伝統技法と新しい試みの併存がみられ、技巧面では頂点に達するが、当時経済力をもった町人階級愛用の印籠(いんろう)に巧みな技(わざ)がみえ、多くの名工を輩出した。なかでも本阿弥(ほんあみ)光悦は舟橋蒔絵硯箱（国宝、東京国立博物館）のような斬新(ざんしん)な意匠と技法を駆使した秀作を残し、その作風を受け継いだ尾形光琳(こうりん)にも八橋蒔絵螺鈿硯箱（国宝、東京国立博物館）をはじめとする名品がある。

　しかし近現代に入ると、生活様式の変化から漆工品の需要が減り、伝統技術継承のため第二次世界大戦後は文化財として保護され、地方産業の育成を目ざす蒔絵作品の制作が若い世代の手で行われている。

［郷家忠臣］

技法

蒔絵の下絵を置目(おきめ)というが、その工程は、まず絵柄を墨で薄紙に写し取り、それを裏返して絵漆(えうるし)（漆に半量のべんがらを加熱して加え漉(こ)したもの）を含ませた根朱(ねじ)筆で輪郭線をなぞる。この薄紙を器面に貼(は)り、指頭やへらでこすって絵柄を転写し、上から消粉(けしふん)か砥(と)の粉(こ)を真綿につけて摺(す)り付け、文様を鮮明に浮き出させて下絵とする。

　もっとも基本的な平蒔絵の技法でみると、まず下絵に沿って漆で絵を描く。このとき漆を入れた小さな器にパラフィン紙をかぶせて塵埃(じんあい)を防ぐ。蒔絵師は左の親指に爪盤(つめばん)とよぶ水牛の角(つの)製の小さなパレット状のものをはめ、根朱筆を用いて爪盤で漆の調子を調えながら絵をなぞるが、これを地書(じがき)という。次に粉蒔(ふんまき)に移るが、毛棒(けぼう)（房）か粉筒(ふんづつ)で蒔絵粉を蒔くと漆の付着部分のみに粉がつく。きれいに蒔絵が入ったところで粉固(ふんかた)めをするが、高めの温度の乾燥風呂(ぶろ)に入れて乾かしてから擦漆(すりうるし)を施し、乾燥させたのち炭・種油・角粉(つのこ)で磨いて仕上げる。これには粉を蒔き付けたままの蒔放(まきはな)し法もあり、また研出蒔絵では粉がやや粗(あら)く、絵の部分のみならず全面を漆で塗り込めてから磨き上げる。

　高蒔絵は模様の部分を高く盛り上げる技法で、肉(しし)上げ（盛り上げて厚みをつけること）材として錆(さび)（漆に砥の粉を混ぜたもの）、炭粉、焼錫粉(やきすずふん)、砥の粉、地(じ)の粉(こ)、鋸屑(のこくず)があり、普通は炭粉を用いる。地書の上に毛棒で炭粉を蒔く下蒔入(したまきいれ)を施し、風呂で乾かしたのち漆を塗る。炭粉固めをしてなお何度も漆がけと研磨で固め、次に蒔絵粉を蒔き、あとは研出蒔絵と同様に仕上げる。

　肉上げ材や蒔絵粉の違いでさまざまの呼称があり、高上漆(たかあげうるし)で肉上げした漆上(うるしあげ)高蒔絵、黒呂色(くろろいろ)漆のみを用いた黒蒔絵、錫粉を蒔いた錫高蒔絵、錆漆で肉上げした錆上蒔絵、高蒔絵と研出蒔絵を併用して立体的に造形化した肉合(ししあい)研出蒔絵（菱合(ひしあい)蒔絵）などと区別している。

　そのほか応用技法として付描(つけがき)、描割(かきわり)、浴蒔(あびせまき)、研切(とぎきり)蒔絵などもあり、また空間の地に施すものを地蒔(じまき)といい、平塵(へいじん)、平目地(へらめじ)、梨地(なしじ)、沃懸地(いかけじ)などがある。

［郷家忠臣］

材料と用具

蒔絵粉の材料には古くから金・銀のほか、青金(あおきん)（金と銀の合金）、白鑞(はくろう)（錫と鉛の合金）、銅、白金、四分一(しぶいち)（錫粉と炭粉の混合）などを用いたが、近代では金・銀のかわりに錫、真鍮(しんちゅう)、アルマイトなども使われる。

　これら金属粉には、平安時代に考案された鑢粉(やすりふん)のほか、消粉(けしふん)、平粉(ひらふん)、丸粉(まるふん)、半丸粉、平目(ひらめ)粉、梨地粉などがある。伝統的製法の鑢粉は、棒鑢でおろした粗粉を鉄棒を転がし圧延してつくるが、近世以降は消粉と平粉が多用されている。また金属粉のほかに彩漆(いろうるし)を粉末化した乾漆(かんしつ)粉、朱、石黄(せきおう)、青漆(せいしつ)粉、レーキ顔料や白色顔料末などが用いられ、切金を使うときは金や銀を薄い延板にして漆を接着剤として貼る。

　道具では一般の漆器製作用具のほか、蒔絵筆がもっとも重要である。用途に応じて各種あり、線描筆と地塗筆に大別される。線描筆には鼠(ねずみ)の毛でつくった根朱(ねじ)筆、脇毛(わきげ)筆があり、地塗り用に卯毛(うのけ)筆、狐毛(こもう)筆などがある。粉筒は粉を蒔くのに用い、鳥の羽軸か竹筒に絹や紗(しゃ)を張ったもの。そのほか刷毛(はけ)、毛棒、粉盤(ふんばん)、粉鎮(ふんちん)、置目べら、筆架、筆洗い、切金鋏(ばさみ)、切金皿などがある。

［郷家忠臣］

『岡田譲著『日本の美術35　日本の漆工』（1975・小学館）』▽『荒川浩和編『蒔絵』（1969・至文堂）』▽『岡田譲・松田権六・荒川浩和他著『日本の漆芸　蒔絵Ⅰ～Ⅳ』（1978・中央公論社）』

[参照項目] | 高台寺蒔絵 | 漆器

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

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