▪ Japanese art
      Japanese decorative technique used for lacquerware and woodenware, in which linings of mother-of-pearl or of abalone shells are cut into designs and either glued onto or inserted into the surface of the lacquer or wood. There are several varieties of raden lacquerware. Atsugai-hō, a technique using thick shell, consists of two methods, one of which is inlay: the shell is inserted into the incised pattern after the surface has been given a first coat of lacquer; after a final coating, the surface is smoothed by burnishing. The second method involves gluing the shell onto the ground coating, applying a mixture of clay powder and raw lacquer (sabi), and burnishing the surface. In usugai-hō, a technique using thin shell, shell pieces are cut into designs by means of a knife or needle and are glued on after the surface has been given two coatings of lacquer. A third coating of lacquer is applied over the shell and then burnished. In both techniques, hairline engravings are often executed on the surface of the shell, and, in some cases, the back of the shell is coloured or lined with gold foil. Warigai-hō is a technique using thin shell material with cracks. A common method of creating such cracks is to paste the shells on rice paper and wrap the paper around a chopstick. In the makigai-hō technique, shells are crushed into particles and scattered over the background.

      Japanese raden dates from the Nara period (645–794), when the method of atsugai was introduced from T'ang China. The application of raden to wood—especially red sandalwood—flourished during this period. In the Heian period (794–1185), raden lacquerware developed a Japanese national style, and the technique was used together with maki-e (lacquer decorated with gold or silver). The technique was subtly refined during the Kamakura period (1192–1333), but it suddenly declined in the Muromachi period (1338–1573).

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Universalium. 2010.

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