“hiramaki-e”的意思、由来-百科全书

hiramaki-e

Japanese art

in Japanese lacquerwork, gold decoration in low, or “flat,” relief, a basic form of maki-e (q.v.). The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer—usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794–1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192–1333) and Muromachi (1338–1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574–1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (“left as sprinkled”).

词条	hiramaki-e
释义	hiramaki-e Japanese art in Japanese lacquerwork, gold decoration in low, or “flat,” relief, a basic form of maki-e (q.v.). The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer—usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone. The hiramaki-e technique, which dates from the latter part of the Heian period (794–1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design. During the Kamakura (1192–1333) and Muromachi (1338–1573) periods, hiramaki-e tended to be overshadowed by takamaki-e (gold or silver decoration in bold relief). It came fully into its own only in comparatively modern times. During the Azuchi-Momoyama period (1574–1600), hiramaki-e artists often left the sprinkled gold powder unpolished in a technique called maki-hanashi (“left as sprinkled”).
随便看	Paul Robeson Paul, Ron Paul Rudolph Paul Sabatier Paul Samuelson Paul Sanford Methuen, 3rd Baron Methuen Paul Sanford Methuen Methuen, 3rd Baron Paul Scarron Paul Scherrer Paul Scofield Paul Scott Paul Shorey Paul Signac Paul Simon Paulson, Henry Paul Storr Paul Strand Pauls Valley Paul Sérusier Paul Taylor Paul, the Apostle, Saint Paul The Deacon Paul Theroux Paul Tillich Paulus Buys