Changes

[[Lacquer]] techniques were introduced to [[Ryukyu Kingdom|Ryûkyû]] from [[Ming Dynasty|China]] in the late 14th century; Ryukyuan lacquer styles continued to draw heavily on these techniques down through the centuries, until the 19th century.

[[Lacquer]] techniques were introduced to [[Ryukyu Kingdom|Ryûkyû]] from [[Ming Dynasty|China]] in the late 14th century; Ryukyuan lacquer styles continued to draw heavily on these techniques down through the centuries, until the 19th century.

These included ''[[raden]]'' (mother-of-pearl inlay), an engraved gold technique unique to Ryûkyû called ''chinkin''<!--沈金-->, gold leaf (''hakue''<!--箔絵-->), painting in gold (''kindeie'')<!--金泥絵-->, colored lacquers (''iro-urushie''), and lead-based pigments (''mitsudae''<!--密陀絵-->). ''Raden'' was first introduced to Ryûkyû in [[1636]] by Kuniyoshi<!--国吉--> from [[Fujian province|Fujian]]. Kuniyoshi was then appointed ''kaizuri-shi'' or ''aogai-shi'' ("master of lacquerware") in [[1642]].　The technique for preparing the shellfish<!--煮貝の法--> was introduced by [[Omitake Hyobu|Ômitake chikudun no peechin Hyôbu]]<!--大見武憑武--> in [[1690]], who had studied such techniques in [[Hangzhou]]. <ref name=miyagi116>Miyagi Eishô 宮城栄昌, ''Ryûkyû shisha no Edo nobori'' 琉球使者の江戸上り, Tokyo: Daiichi Shobô (1982), 115-116.</ref>

These included ''[[raden]]'' (mother-of-pearl inlay), an engraved gold technique unique to Ryûkyû called ''chinkin''<!--沈金-->, gold leaf (''hakue''<!--箔絵-->), painting in gold (''kindeie'')<!--金泥絵-->, colored lacquers (''iro-urushie''), and lead-based pigments (''mitsudae''<!--密陀絵-->). ''Raden'' was first introduced to Ryûkyû in [[1636]] by [[Zeng Guoji]] (J: Sô Kuniyoshi)<!--曾国吉--> from [[Fujian province|Fujian]]. Kuniyoshi was then appointed ''kaizuri-shi'' or ''aogai-shi'' ("master of lacquerware") in [[1642]].　The technique for preparing the shellfish<!--煮貝の法--> was introduced by [[Omitake Hyobu|Ômitake chikudun no peechin Hyôbu]]<!--大見武憑武--> in [[1690]], who had studied such techniques in [[Hangzhou]]. <ref name=miyagi116>Miyagi Eishô 宮城栄昌, ''Ryûkyû shisha no Edo nobori'' 琉球使者の江戸上り, Tokyo: Daiichi Shobô (1982), 115-116.</ref>

''Hakue'' involved simply placing pieces of gold leaf atop lacquered surface, while ''chinkin'' techniques (lit. "submerged/sunken gold") involved carving into the lacquered surface, and then filling in the space with gold leaf or gold powder. Chinese techniques of lacquer carving never took off in Ryûkyû, but instead, techniques of building up designs in relief using a lacquer putty, called ''[[tsuikin]]''<!--堆錦-->, became a distinctive element of Ryukuyan lacquerwares. This technique was first developed in [[1715]] by [[Higa Josho|Higa chikudun no peechin Jôshô]]<!--比嘉乗昌-->, based on Chinese techniques.<ref name=miyagi116/> Ryûkyû lacquer also often made use of basketry skeletons for boxes and other objects.

''Hakue'' involved simply placing pieces of gold leaf atop lacquered surface, while ''chinkin'' techniques (lit. "submerged/sunken gold") involved carving into the lacquered surface, and then filling in the space with gold leaf or gold powder. Chinese techniques of lacquer carving never took off in Ryûkyû, but instead, techniques of building up designs in relief using a lacquer putty, called ''[[tsuikin]]''<!--堆錦-->, became a distinctive element of Ryukuyan lacquerwares. This technique was first developed in [[1715]] by [[Higa Josho|Higa chikudun no peechin Jôshô]]<!--比嘉乗昌-->, based on Chinese techniques.<ref name=miyagi116/> Ryûkyû lacquer also often made use of basketry skeletons for boxes and other objects.