A favorite motif seen in Japanese decorative arts, this graceful butterfly, embossed in gold, is adapted from the design of a tray within a late nineteenth century Japanese lacquer box that once held poem cards and other stationery items. The unknown artist rendered a striking design of exquisite butterflies in maki-e lacquer. The range of colours achieved in this example is characteristic of the revival of maki-e technique sponsored by the Meiji government that was spurred by the demand for Japanese lacquer in Europe and the United States as a result of the international expositions in Paris (1867), Vienna (1873), and Philadelphia (1876).
Journal: 256 lined-pages with ribbon marker. Flexible gold-stamped cover. 4 3/4'' x 6 5/8''. Correspondence cards: 25 gold-embossed white correspondence cards and 25 white envelopes in a keepsake box. 6 1/4'' x 4 7/8''
Journal: 256 lined-pages with ribbon marker. Flexible gold-stamped cover. 4 3/4'' x 6 5/8''. Correspondence cards: 25 gold-embossed white correspondence cards and 25 white envelopes in a keepsake box. 6 1/4'' x 4 7/8''
- Flexible gold-stamped cover
- Set of journal and 25 gold-embossed white correspondence cards and 25 white envelopes in a keepsake box
- Includes ribbon marker
- 256 lined-pages
- Cards: 6 1/4'' x 4 7/8'', Journal: 4 3/4'' x 6 5/8''
A technique developed to the highest degree in Japan is the use of gold and silver in powder form, either mixed in to form gold or silver lacquer, or sprinkled over the lacquer surface to create a graduated gold or silver effect. Indeed, the Japanese exploited every physical property of lacquer: as a liquid for painting; as a solid surface that can be built up in certain areas of the composition; and as an adhesive, especially for gold and silver (in either foil or powder form). The resultant works often display great subtlety and delicacy, and maki-e lacquer is one of the supreme achievements of Japanese decorative art.