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Angular Momentum of Switzerland

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Decorative techniques<br />

There are hundreds <strong>of</strong> decorative techniques developed in the past<br />

centuries to create beautiful lacquer surfaces. They can be described<br />

by a number <strong>of</strong> categories such as „nashiji“ pear skinn lacquer surfaces<br />

created by sprinkling surfaces by a wide ranke <strong>of</strong> gold, silver,<br />

zinc, flakes and powders, pigments, dry lacquer powder. „Togidashi“<br />

imitating ink paintings by sprinkling pigments and powders into lacquer.<br />

„Yamimaki“ black on black lacquer designs.<br />

The category „iro nuri“ plays with a wide range <strong>of</strong> color lacquers<br />

such as „kuro roiro nuri“ polished black lacquer, „negoro nuri“ black<br />

lacquer coated with red lacquer which is partially rubbed down to suggest<br />

use and age. Lacquer techniques for imitation metal surfaces are<br />

called „seidô mitateai“ for bronze, „kuro imonoji“ for cast iron, „sentoku<br />

ji“ for Sentoku, „tetsusabi mojô“ for imitating corroding iron.<br />

Further on techniques to imitate stone surfaces „ishi meji“ or „mokume<br />

nuri“ techniques imitating wooden structures, „juhi mitateai“<br />

imitating the bark <strong>of</strong> trees, „kawa nuri“ imitating leather, „samegawa<br />

nuri“ imitating fish skinn. Finally an almost impossible to gras<br />

range <strong>of</strong> experimental lacquer techniques „kawarinuri“ like „seigaiha<br />

nuri“ imitating waves, „nanako nuri“ imitating fish eggs, „aogai nuri“<br />

a wide range <strong>of</strong> inlaid or laid on or sprinkled mother <strong>of</strong> pearl, „tamago<br />

kara nuri“ inlaid eggshells, „shippô nuri“ to imitate enamel works.<br />

„Chinkin“ is a technique in which a design is drawn on a perfect polished<br />

surface. Then the picture is engraved with special chisels, then<br />

sticky urushi is rubbed into the surface and engraved lines, removed<br />

again with „washi“ japan paper. Metal powder or gold leaf is then<br />

rubbed into the urushi filled carved grooves. Then the surfavce is polished<br />

in various steps as described above „dozuri, roiromigaki.<br />

„Takamakie“ or raised makie. The design is relief modelled with charcoal<br />

urushi paste or „sabi urushi“. A coat <strong>of</strong> urushi is applied and polished<br />

when dry. The design elements are coated with clear urushi and<br />

sprinkled with the desired colours. And finally to be mentioned the<br />

techniques „makie urushi“ picture urushi or „takamakie urushi“ high<br />

relief urushi executed in many different ways

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