<\/span><\/h3>\nMaki-e began to be highly valued internationally from the 16th century onwards, with the beginning of Nanban trade. Japanese Maki-e was known as “Japan” and was treasured by European nobility and royalty. Particularly, Maki-e products exported to Portugal and Spain were popular as luxurious decorative items. These crafts, called Nanban lacquerware, were produced over approximately 50 years during the Momoyama period and ceased production after Japan’s subsequent isolationist policy.<\/p>\n
Even during the Edo period’s isolation, Maki-e continued to be exported to the Netherlands and China through Nagasaki. In the 18th century, Empress Maria Theresa of the Austrian Habsburg family collected lacquerware with beautiful gold Maki-e, and this collection was later inherited by her daughter, Queen Marie Antoinette of France.<\/p>\n
From the 18th to 19th centuries, the Japonisme movement brought Maki-e back into the spotlight, significantly influencing Western artists and designers. Maki-e became widely recognized as a symbolic representation of Japanese culture through international artistic exchange.
\nReference: Maki-e of the Edo Period | Kyoto National Museum<\/p>\n
<\/span>Maki-e Techniques and Varieties<\/span><\/h2>\nMaki-e is a lacquer craft technique that allows for diverse expressions by combining various methods, materials, and themes. Its intricacy and artistry continue to captivate many. Here, we’ll provide a detailed explanation of representative Maki-e techniques, materials, tools, and the characteristics of its patterns and themes.<\/p>\n
<\/span>Representative Techniques: Flat Maki-e, Raised Maki-e, and Togidashi Maki-e<\/span><\/h3>\nThere are primarily three representative Maki-e techniques:<\/p>\n
Flat Maki-e (Hira Makie)<\/h4>\n