Lacquer Texture

[md02geist]

Was all kabuto etc lacquer smooth like glass or did they ever texture it with brush techniques, adding stuff like a dust to it, or any other way?

[estcrh]

Was all kabuto etc lacquer smooth like glass or did they ever texture it with brush techniques, adding stuff like a dust to it, or any other way?

Do you mean like this example.

 

Kuro tataki urushi momonari kabuto.

[md02geist]

Yes, precisely like that example. Was this something that was commonly done, and if so / not, when and where did we see textures like this appear? And how was it done?

[IanB]

Rob,  Tricky to say when it started to be done but certainly by the Sengoku Jidai. Prior to that most armours differed mainly in the colour schemes of the lacing and even those tended to be one of a number of fairly standardised arrangements. During the Sengoku era armours were wanted that were distinctive so that the wearers stood out in battle and had their deeds noted. Lacquer colour and texture was just one way you could ring the changes on what would otherwise be a fairly standard helmet or dou. It is done by texturing the filler coats before putting on the top colour coats. These sorts of finish also had the advantage of not showing fingerprints or small knocks and scratches like a polished surface does - think of the practicality of an ishime saya as opposed to one with a highly polished surface. I once visited a very up-market lacquer company (they made the equipment for the Emperor's coronation) and the boss showed me a five drawer cabinet, each of which had about 40 or 50 scabbard shaped pieces all done in a different lacquer finish as samples for a customer to choose from. He told me he had bought it in an auction in the UK. I can just imagine a samurai ordering a No. 57 please. 

Ian Bottomley

[md02geist]

Fantastic info thank you!

[estcrh]

Yes, precisely like that example. Was this something that was commonly done, and if so / not, when and where did we see textures like this appear? And how was it done?

This technique was used not only on armor, I have seen jingasa, yari saya  and other objects as well. As far as armor goes I am not sure how common it was or how far back in time it was used, there are some very knowledgable forum members who may have some answers but apparently they are currently to busy to help.

 

As for how it was done exactly I do not know what material or materials were specifically added to the raw usushi in order to make tataki usushi, I can guess that is was something like kukuso. Here are a few examples, the menpo is from Trevor Absolons book "The Watanabe Art Musuem", he describes it as being 1600s to 1700s.

[Baka Gaijin]

There was a chap during the mid to late 1970's who came up with a variety of textured finishes to simulate the ones shown above.

 

He used textured ceiling plaster for Yari Saya and sieved powdered housebrick for Ishime finished Saya.

 

They were very convincing at first glance, but much heavier than the real thing when you handled them.

 

As I recall, he dealt in Japanese Swords and other Militaria in London's Portobello Road.

 

His technique is done by laying a coat of the "plaster" over the primed base material and then using a thick brush or even a scrumpled rag to pull the texture up into peaks, most plasterers now how this effect is achieved with modern materials.

He then painted with what was available and added a dusting of "Rottenstone" to give the aged effect.

 

https://en.wikipedia.org/wiki/Rotten_stone