Methods and Techniques of Ryukyu Lacquercraft Maeda Kouin 　The Ryukyu islands were first unified under the rule of King Sho Shin (1477-1526). For the next several hundred years the kingdom nurtured its own particular culture and art by means of peaceful trade as an unarmed country, yet escaped the foreign colonization most other southeast Asian countries suffered. This small kingdom survived by transit trade, carrying ceramics from China to Southeast Asia and spices in the other direction. But when tribute-paying to China started at the end of the 14th century, it was necessary to develop a unique product, rather than deal completely in foreign goods. This prodact had to match the geography and climate of the country. The Ryukyus had exported the turban shells (mother-of-pearl) found in the ocean nearby China and Japan as a craft material since ancient times. 　So it was that government-managed workshops (kaizuri-bugyo-sho) were set up to produce mother-of pearl inlaid lacquer (raden), designed by retained artists and applying this beautiful shell. The fine work which came from the hands of these lacquer craftsmen was used as tributary gifts to neighbouring countries, as well as articles of trade. In this way it came to be the kingdom's representative artwork. 　Lacquerware describes vessels varnished with the sap of the Urushi tree, which is indigenous to Asia. This varnish has the strange characteristic that it requires over 80% humidity and a temperature above 20℃ for it to dry. Naturally milky-white, it oxidizes to a dark brown colour, but under the strong ultraviolet light in Okinawa it becomes transparent. when mixed with cinnabar pigment it turns an unusually brilliant vermilion. 　The Okinawan climate is thus ideally suited for both drying the urushi, and for causing it to become transparent. Further, the turban shell is said only to live in the region of the Black sea current, of which Okinawa is the northern limit. Okinawa Produces the hardest, most beautiful shells. Early Ryukyuan lacquerware was red raden, made with turban-shell inlay on a cinnabar-red ground.The period was characterized by unrestrained designs of vivid ｆｌowers and birds. But the technique of Chinkin was in fact the earliest to grow to maturity. Chinkin involves the use of a special knife to engrave the design into the polished lacquer surface, after which more lacquer and then gold leaf is applied to the incisions. The combination of bright red and gold brings to mind the glittering Okinawan sunset. In other areas gold dust is predominantly used, but the gold leaf commonly used in Okinawa provides a better balance with the vivid cinnabar red. 　During the 17th and 18th centuries following the invasion of Okinawa by Satsuma in 1609, Chinesestyle black lacquerware was produced as a matter of policy. Designs portrayed idyllic landscapes or religious themes, which at first sight could easily be mistaken for Chinese lacbuerware. Work in this style suited the tastes of Toyotomi Hideyoshi, the Tokugawa family and other daimyo. The root of the difficulty in distinguishing Ryukyuan lacquerware from Chinese work lies here. Another characteristic of this period is the development of different techniques such as Hakue, Mitsudae and Urushie, and their combined use in a single piece. 　Raden in particular underwent a remarkable development. New techniques were introduced, such as the use of wafer-shin shell, prepared by boiling the shell in water for about a week; Then the pulverized shell(mijingai-nuri) was applled. Simultaneously, the applied shell and the base lacquer were ground to make an even surface (roiro-togidashi). Many pieces of Ryukyuan lacquerware from this period are preserved in museums around the world as representative works of the highest levels of art achieved in the Ryukyu kingdom. 　The technique of hakue entails painting a design in lacquer with a makie brush, and then applying gold leaf while this is still half dry. Hakue peony arabesque motifs or landscapes with figures were used with a particularly dramatic effect on Tundabun (Ryukyu-style food coffers) and large pieces such as clothes chests. 　　　　Mitsudae is similar to oil paint; bright or pastel colours such as white or pink could not be obtained using lacquer, and so high quality perilla oil was mixed with pigment, and litharge (mitsudaso) added as a drying agent, from which the name of the technique originated. Designs such as flowers and birds drawn in clear colours fitting to Okinawa's climate appeared on various festive vessels such as Uguhan, (a stand and set of covered bowls for sacred offerings); round trays and food stands. This technique is one rarely found in other areas. 　Tsuikin is the technique used in more than 80% of present-day production, but this process actually only dates from the early 18th century, and as such is one of the more recently developed techniques. Large quantities of pigment are mixed with refined raw lacquer to form a dough, which is then rolled into a thin sheet, from which patterns are cut out by a knife, stuck to the lacquer surface, molded three-dimensionally, painted and finished. This is a technique peculiar to Okinawa, because of the island's high temperature and humidity. 　It is no exaggeration to say that for these reasons lacquercraft is the traditional craft most suited to Okinawa's climate. (Prefecturally Recognized Bearer of Important Cultural Properties: Ryukyu Lacquerware)