Page 189 - Bonhams Japanese Works of Art September 2015 New York

GLOSSARY OF SELECTED JAPANESE TERMS

chinkinbori kirigane sentoku
lacquer decoration using gold foil pressed into small squares of gold or silver foil yellowish alloy of copper, lead and zinc
grooves cut into the surface
kozuka shakudo
e-nashiji handle of a small knife carried in the alloy primarily of copper with a small percentage
nashiji used to highlight defined areas of a scabbard of a sword of gold, patinated to a dark blue-black color
decorative or pictorial design
maki-e shibuichi
fuchi-gashira lacquer decoration using particles of metal “one part in four,” alloy primarily of copper
fittings at either end of a sword-hilt sprinkled onto damp lacquer and silver, usually patinated to a dull grey-
green color
fukurin manju
applied metal rim flattish, disc-shaped netsuke shikishiban
squarish woodblock print measuring
fundame menuki approximately 7 x 7 1/2 in.
very fine metal powder sprinkled repeatedly on small metal ornaments, usually in pairs, fitted
wet lacquer to give a smooth, matte appearance under the wrapping of the sword hilt shishi
lion-like mythical creature of Chinese origin
Gyobu-nashiji moriage
nashiji using particularly thick flakes of gold relief decoration (usually refers to enamels) shishiai-bori
sunk relief carving
hiramaki-e mura-nashiji
standard type of maki-e, in which metal in lacquer decoration, nashiji with contrasting sukashi-bori
powders are sprinkled onto wet lacquer areas of densely and thinly packed gold flakes pierced decoration
and then covered with a further layer of
transparent lacquer nanako surimono
pattern of small, individually high-quality, small-format privately
hirame punched granulations commissioned woodblock print
small flattish flakes of gold used in
lacquer decoration nashiji takabori
irregularly-shaped flakes of gold suspended in high-relief carving
hirazogan clear or yellowish lacquer
flat metal inlay takamaki-e
netsuke standard type of maki-e in which lacquer
inro toggle used to suspend objects from the is built up in high relief either by applying
small container, usually lacquered, worn obi (sash) many layers or by mixing the lacquer with
hanging from the waist powdered charcoal or clay
nunome (zogan)
iro-e a technique in which gold, silver, or other takazogan
decoration in a colorful combination of metals metals are hammered onto a key previously high-relief metal inlay
scratched into a harder base metal
iro-e takamaki-e togidashi maki-e
takamaki-e decoration using lacquer of oban tate-e standard type of maki-e in which a completed
several different colors vertical woodblock print measuring hiramaki-e design is covered with several
approximately 15 x 10 in. further layers of lacquer; when these layers
ishime are polished away the design reappears, flush
matte surface texture oban yoko-e with the new ground
horizontal woodblock print measuring
kanagai approximately 10 x 15 in. tsuba
individually placed squares of gold foil handguard fitted to a sword between the
ojime handle and the blade
kao bead for tightening the cord of an inro or
artist’s cursive monogram other item worn hanging from the waist by a ukiyo-e
silk cord general term for woodblock prints produced
kebori during the Edo period (1615-1868) and Meiji
thin chiseled lines roiro era (1868-1912), and for paintings in the
clear lacquer blackened by adding a small same style
kinji quantity of iron and highly polished
highly polished gold-lacquer ground usu-nashiji
ryusa netsuke nashiji using smaller, more widely spaced
manju netsuke with openwork decoration gold flakes

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