Page 141 - mar 21 Japanese and korean art Bonhams

GLOSSARY

BAKU KARAKO MUSEN TAKABORI
Mythical creature, with a long Small Chinese boy with tufted Enameling with completely high-relief carved metalwork
trunk, that consumes bad hairdo often seen in Edo-period art hidden wires (or sometimes decoration
dreams no wires), producing a soft,
KATAKANA painterly outline TAKAMAKI-E
BIWA The more angular of the two lacquering technique in which
Plucked musical instrument of Japanese phonetic scripts NANAKO the design is built up in high
Chinese origin, similar to a lute Pattern of small punched relief by adding powdered
granulations used in metalwork charcoal or clay to the lacquer
KATAKIRI-BORI
E-NASHIJI Angled engraving technique
Nashiji used to decorate small used in metalwork to achieve an NASHIJI TAKAZOGAN
areas of a design effect imitating brushwork Irregularly shaped flakes of gold, high-relief metalwork inlay
suspended at different angles
in several layers of clear or
FUNDAME KEBORI yellowish lacquer TANZAKU
Fine gold dust sprinkled Thin engraved lines long, narrow card for writing
repeatedly on wet lacquer poetry
to give a smooth, matte KEMAN NUNOME-ZOGAN
appearance Hanging gilt-copper Buddhist Overlay of gold or silver on iron, TETSUBIN
ritual decoration similar to damascening Handled cast-iron teapot for
GINBARI sencha
Transparent enamels applied OJIME
over heavy, stamped silver foil KINJI Bead for tightening the cord of TOGIDASHI MAKI-E
Shiny gold-lacquer ground
an inro or other item hanging
finished design is covered with
GOSU KIRIKANE from the belt Form of maki-e in which a
Underglaze blue decoration on Small squares of cut gold foil several further layers of lacquer;
porcelain ROIRO-NURI when these layers are polished
The characteristic black away the design reappears,
KIRIN background of Japanese flush with the new ground
GYOBU-NASHIJI Imaginary Chinese being with a lacquer, achieved by the
Nashiji using particularly large
flakes of gold deer’s body, a horse’s hooves, chemical reaction between clear TOMEI JIPPO
an ox’s tail, and a single horn on
lacquer and a small quantity of
its head iron Transparent enamel on a base
of chased metal incised with a
HIRAMAKI-E decorative design
Basic maki-e technique in which KOTO
metal powders are sprinkled Plucked 13-stringed musical SEIGAIHA
Pattern of stylized semi-circular
onto wet lacquer and then instrument overlapping waves TORII
usually covered with a further Archway at the entrance to a
layer of lacquer Shinto shrine
MAKI-E SENCHA
generic term for lacquer Chinese-inspired formalized
HIRAME decoration using powdered drinking of tea made with whole USU-NASHIJI
Flat flakes of gold lying on or metals; see also hiramaki-e, rather than powdered leaves Thinly sprinkled nashiji
near a lacquer surface takamaki-e, and togidashi
maki-e
HIRAZOGAN SHAKUDO
Blue-black patinated alloy of
Flush metal inlay MENUKI copper with a small quantity of
Decorative fittings on a sword gold
INRO hilt
Small container made up of
several interlocking sections, SHIBUICHI
ostensibly for carrying medicines MINOGAME Gray-green patinated alloy of
Turtle or tortoise which has
copper with varying quantities
acquired a “tail” of weed by of silver
IRO living for a long time in a pond;
Chiseled relief decoration in emblematic of longevity
gold, silver, and copper alloys SHIKISHI
rectangular card for writing
MOKUGYO poetry
ISHIME Wooden gong used in Buddhist
Stone-like surface texture in ritual
lacquer or metal SHISHI
Lion-like imaginary creature of
MON Chinese origin
KAMI Heraldic crest used by
Shinto deity prominent samurai families
SHISHIAIBORI
relief carving below the general
KAO MURA-NASHIJI level of the rest of a piece of
Cursive monogram used in art Nashiji with contrasting areas of metalwork
signatures densely and thinly packed gold
flakes