Page:Brinkley - Japan - Volume 7.djvu/390

 is polished away in places so as to expose the under coat of vermilion red. There is also a variety called chinkin-bori, of which, as its name implies, the distinguishing feature is that a design—generally of arabesques or scrolls—is scratched upon black lacquer, and gold-foil is then rubbed into the lines. This is a subsidiary decoration seldom seen in combination with fine work. "Shark-skin lacquer" (same-gawa-nuri) is another kind which used to be greatly employed for covering the sheaths of swords. It is obtained by pressing shark-skin into the ground of the article to be lacquered, a layer of rice-paste having previously been spread over the surface. The skin is then filed down to an even plane, and a coating of lacquer is superposed, with the usual polishing and rubbing. There results a black surface covered regularly with small white circles.

M. says, and Mr. E. Gilbertson endorses his dictum as "a simple truth," that "Japanese lacquered objects are the most perfect works that have issued from man's hands."


 * Hidetsugu, of Nara. Second half of fifteenth century.
 * Hadagoro, of Kyōtō. Second half of fifteenth century. His works are known as "Hokkai-nuri-mono."
 * Taiami, of Kyōtō. Time of Ashikaga Yoshimasa. Celebrated for togi-dashi and taka-makiye (which he is said to have invented). He founded a long line of expert lacquerers.
 * Kōami Choan (1560-1603), eighth representative of the Kōami family.
 * Anami Kwōyetsu (1590-1637). A celebrated artist; introducer of the style afterwards carried to perfection by Kwōrin.