Makie and Nashiji 蒔絵と梨地

Published by Hiromi Nishiwaki on


Good morning!

Today I'd like you to introduce Yamada Heiando's Makie Fountain pen.

Yamada Heiando Makie Nashiji Fountain Pen

Yamada Heiando is purveyors to the Imperial Household Agency  

Brand Sailor
Pen Tip M
21K Gold
With ink cartridge, paulownia wood Box, converter
size Diameter 1.5 cm Length 14.5cm

What is Maki-e?

Maki-e (蒔絵, literally: sprinkled picture) is Japanese lacquer sprinkled with gold or silver powder as a decoration using a makizutsu or a kebo brush.

e oldest Maki-e in existence now is the ornamentation on the sheath of the Kara-tachi sword with gilded silver fittings and inlay in Togidashi technique
held by Shōsōin in Nara, Japan.

Originally the sword was treasured by the Emperor Shōmu (701 – June 4, 756)  The technique was developed mainly in the Heian period (794–1185)
and blossomed in the Edo period (1603–1868).

Maki-e objects were initially designed as household items for court nobles; they soon gained more popularity and were adopted by royal families

and military leaders as a symbol of power.

To create different colours and textures, maki-e artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminum, platinum, and pewter,
as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines.

As it requires highly skilled craftsmanship to produce a maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately
become maki-e masters. Kōami Dōchō (1410–1478) was the first lacquer master linked to specific works.

His maki-e works used designs from various Japanese contemporary painters. Kōami and another maki-e master, Igarashi Shinsai, were originators of the two major schools of lacquer-making in the history of Japan.

Takamakie (or "raised maki-e") is one of the three major techniques in maki-e making. Developed in the Muromachi period (1336–1573),
the technique of takamakie involves building up design patterns above the surface through a mixture of metal powder, lacquer, and charcoal or clay dust.

Another special kind of maki-e is togidashi maki-e, where a black lacquer without oil is put on the metal decoration as an additional coat.


What is Nashiji?

Nashiji, also called Aventurine, in Japanese lacquerwork, form of maki-e (q.v.) that is frequently employed for the background of a pattern.
Gold or silver flakes called nashiji-ko are sprinkled onto the surface of the object (excluding the design), on which lacquer has been applied.

Nashiji lacquer is then applied and burnished with charcoal, so that the gold or silver can be seen through the lacquer.

The name nashiji is thought to have originated in the resemblance that the lacquer bears to the skin of a Japanese pear, nashi.

The technique flourished in the Muromachi period (1338–1573). During the Azuchi-Momoyama period (1574–1600), variations of the technique were developed,
such as e-nashiji, in which nashiji is applied to parts of the design. Later, in the Tokugawa period (1603–1867), more variations were devised—

muranashi-ji, for example, in which gold or silver flakes are sprinkled thickly in some parts and lightly in others to depict clouds or
to create an irregular effect in the design.

Price 102,600 yen (plus Hiromi's commission)

Thank you for your reading my mail!

Japanese Art and Culture Promotion

Hiromi Nishwiaki / Office Flora

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We introduce Japanese culture and items to the world, and contribute to world happiness and prosperity.





Hiromi Nishiwaki

Office Flora "JAPANOPHILE " Promotion was founded as a Japanese culture Research firm in 2017. We provide exciting information on Japanese Art and Culture and offer intellectual excitements though the prism of Hiromi Nishiwaki. We provide deep insights about Japanese traditional culture and Art from a Western perspective while keeping the core concepts from the Japanese Spiritual and traditional values intact. Our mission is to contribute to world happiness and prosperity.

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