{"id":"maki-e","no":519,"name":"Maki-e","ja":"蒔絵","era":"Heian period–","family":"器と工芸の技","kind":"技法","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Getty Research Institute — Art & Architecture Thesaurus: maki-e (decoration) (300310650)","url":"https://vocab.getty.edu/page/aat/300310650"},"reference":{"status":"verified","pageUrl":"https://vocab.getty.edu/page/aat/300310650","credit":"Getty Research Institute — Art & Architecture Thesaurus: maki-e (decoration) (300310650)","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Confectionary%20box%20by%20Nakayama%20Komin%20(1808-1870)%2C%20Edo%20period%2C%2019th%20century%2C%20insect%20cage%20design%20in%20maki-e%20lacquer%20-%20Tokyo%20National%20Museum%20-%20DSC05156.JPG?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Confectionary%20box%20by%20Nakayama%20Komin%20(1808-1870)%2C%20Edo%20period%2C%2019th%20century%2C%20insect%20cage%20design%20in%20maki-e%20lacquer%20-%20Tokyo%20National%20Museum%20-%20DSC05156.JPG","credit":"中山胡民《虫籠蒔絵菓子器》19世紀 東京国立博物館 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Footed%20Tray%2C%20Edo%20period%2C%2018th%20century%2C%20phoenix%20and%20paulownia%20design%20in%20maki-e%20lacquer%20-%20Tokyo%20National%20Museum%20-%20DSC05977.JPG?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Footed%20Tray%2C%20Edo%20period%2C%2018th%20century%2C%20phoenix%20and%20paulownia%20design%20in%20maki-e%20lacquer%20-%20Tokyo%20National%20Museum%20-%20DSC05977.JPG","credit":"《鳳凰桐文蒔絵高坏》江戸時代 18世紀 東京国立博物館 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Gourd-Shaped%20Sake%20Bottle%20with%20Aoi%20Crests.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Gourd-Shaped%20Sake%20Bottle%20with%20Aoi%20Crests.jpg","credit":"《葵紋蒔絵瓢形酒瓶》江戸時代 18世紀 — Wikimedia Commons / CC0"}]},"essence":"乾ききらない漆の上に金銀や色の粉を蒔いて絵を定着させる、日本の加飾技法の総称。名は蒔いた絵の意で、平安時代には漆器の主要な装飾法になった。色を混ぜるのではなく、粉の粒度と蒔く密度がそのまま階調になる。","cues":["黒い漆の地の上で、金の像が表面より奥に沈んで見える","同じ金でも、粉の粗い部分は粒が見え、細かい部分は面として光る","文様の輪郭が線ではなく、粉の密度の変化として立ち上がる","切金として貼られた金箔の小片が混じり、粒の絵の中に平らな金の面ができる"],"intents":["高級","静けさ","技術"],"works":["漆器や筆記具など、黒地に金の加飾を載せる製品の見本を工房に発注するとき","金の面を一様な色で塗らず、粒の粗さで階調をつくる表現を設計するとき"],"recipe":{"type":"文字を入れるなら文様と同じ粉で書き、黒地に沈む太さにとどめる。輪郭線で囲わない。","layout":"黒の地を大きく残し、文様を器の一方に寄せて流す。全面を埋めず、光が滑る無地の面を必ず取る。","material":"漆を塗り、乾ききる前に金銀や色の粉を蒔いて定着させる。粉の粒度と密度で明暗をつくり、平らな金の面が要るところには切金を併用する。"},"avoid":"金を一様な平面として塗ってしまうと、粉の粒度で階調をつくる技法の中身が消え、金色のベタ塗りにしかならない。","colors":["#100D0B","#C9A227","#B7AE97"],"motif":"graphic","pair":["mingei","sukiya"],"study":["粉の粒度を変えた作例で、同じ金がどこまで違う明るさに見えるか","切金を貼った箇所と粉を蒔いた箇所の境目の処理","平安期の作と後代の作で、文様の疎密と黒地の残し方がどう変わるか"],"en":{"essence":"A family of Japanese decorating techniques in which powdered gold, silver or coloured pigment is sprinkled onto lacquer while it is still damp. The name means sprinkled picture, and by the Heian period these techniques had become the dominant way of decorating Japanese lacquerware. Tone is built from how coarse the powder is and how densely it falls, not from mixing colour.","cues":["Gold imagery that appears to sit below the surface of a black lacquer ground","The same gold reading as visible grain where the powder is coarse and as a smooth sheet where it is fine","Motif edges formed by a change in powder density rather than by a drawn outline","Flat passages of gold from applied kirikane foil set among the sprinkled areas"],"works":["Briefing a workshop for gold decoration on a black lacquer ground, on ware or on objects such as pens","Designing a gold treatment whose tonal range comes from grain size instead of a flat colour fill"],"recipe":{"type":"If text is needed, write it in the same powder as the ornament and keep the strokes light enough to sit inside the black. Never outline it.","layout":"Leave most of the black ground open and let the motif run toward one side of the object. Always reserve a plain area for light to travel across.","material":"Lay the lacquer and sprinkle gold, silver or coloured powder before it dries. Build light and dark from grain size and density, and add kirikane foil where a flat sheet of gold is wanted."},"avoid":"Filling the gold as one flat area discards the technique itself, since in maki-e the tonal range comes from how coarse the powder is and how densely it lands.","study":["how far the same gold reads as different brightness across works using different powder grades","the treatment of the boundary between areas laid with cut gold foil and areas sprinkled with powder","how the density of the pattern and the amount of black ground left change between Heian period work and later work"]}}