When the great European demand started, about 1700, inferior goods were rushed to market and decadence in the industry soon followed. The Japanese government, middle of last century, started an attempt to raise the artistic level of the art, and met with con siderable success, so that Tokio, Kioto and Osaka produced really meritable pieces. Cheap, inferior ware is made in the provinces of Aitizu and Yechizen. The hardness of fine lacquer pieces is such that lacquer bowls are used to serve hot wines, liquors, soups, etc.
Japanese lacquer periods . are Kamakura, 1100 to 1336; Ashikaga, 1336 to 1573; Momo yana, 1573 to 1603; Tokugawa, 1603 to 1868. Noted lacquer artists are Koetsu, end of the 16th century; Shunsho, 18th century; Yosai (imported from China and produced the first carved red lacquer), about 1600; Koma Kwanzai, 17th century; Ritsuo, early 18th century; Hanzan (Ritsuo's pupil) ' • Kadjikova, Kiyokava, Shiomi, Toyo, Kwanshio, Toshide, Yoyusai, Zeishin.
A fairly exhaustive list of Japanese lacquer articles is medicine boxes (inros) ; paint-boxes (stathrstri-bako); clothes-presses, chests; small tables for incense burners; dinner tables (sea), sake tables; traveling trunks (hasa-tnibako); tobacco boxes (tobacobon); .palanquins or Sedan chairs (noritnonos); clothes-horses (iko)• writing and toilet sets; book coffers (oi); 'dinner sets; sake sets; smoking sets; din ner and sake dishes; sake bottles; sake dish stands; water pots; incense boxes; picture easels; hair combs and pins; neck rests; boxes to hold tea services (chadansu) ; tea trays; urns; fans; foot baths ; hats ; braziers ; (hibachi); letter boxes; bowls and covers (hira) • little boxes for perfumes (ko-bako); rouge boxes; kake boxes; mirror stands; sword racks (katanakake); horse saddles; stirrups; brush jars; incense burners (koro); tea caddies (cha-ire); tea bowls (chawan) pipe cases (kisernire); dinner chests (bentobako); sweet meat boxes (kwashi-bachi) ; book chests (bunko) ; fruit dishes (takasuki) ; screens, slid ing doors, etc. Besides their furniture and utensils, the Japanese, as protection against atmospheric action, coat their light wood houses (pillars, pilasters, verandas, movable wall frames) with lacquer.
Chinese Lacquerwork.— The Chinese term for their lacquer is tsi. They were the pre cursors in this as in many other arts and taught the Japanese, but the date of origin is obscure. In the esteem of the Chinese their coral-red Soo-chou carved lacquer stands foremost. Dr. Bushell says Pekin and Soo-chou have done no highly artistic work since Ch'ien Lung (1736 95). There are, however, a large number of fine specimens extant of coral-red. The term "Coromandel" lacquer has been for two cen turies used for some very fine incised and decorated old Chinese work; the reason for the term is conjectural. The Celestials produced a style of lacquer done by placing a very thin layer of iridescent shell in black lacquer, sides the thick mother-of-pearl inlays. This
peculiarly pretty effect was very much admired by the French who termed it "'ague burgautee" and the production thrived greatly late in the 17th century (Kang-he). The Chinese also ex celled in coating porcelain with black lacquer decorations. As in other lines of decorative art of the Chinese the crafts are much °specialized." Thus the different operations of cabinetworkers, lacquerers, decorators, metal workers, etc., often necessitate each piece pass ing under the hands of many workmen. Like the Japanese the Chinese extend the use of lac quer in many directions; as Semper says: "The Chinese lacquer everything, even their tree trunks." The body of Japanese and Chinese lacquer pieces consists of thin wood, fine bam boo wickerwork, leather, skins, etc.
Indian and Persian Lacquerwork.— The method of production of these natives is quite different from that of China or Japan, inasmuch as the lacquer is utilized only as a covering or coating to preserve the decoration beneath. The best work emanates from the northwest provinces of East India. They show a close relationship in style to the Persian painting. Indian pieces have been divided into two cate gories: "Masnadi" or royal — large panels and decoration pieces; and 'Tarsi" or Persian portable articles. Unlike the Japanese and Chinese decoration, that of India and Persia is extraordinarily rich and complex. Gold, green, yellow, blue are the favored colors; deep blue is a frequent background. Again in con trast with the Chinese and Japanese the Indian and Persian method of decorative treatment covers the entire surface; borders, sides, covers of the object show harmonious repeats of the same motifs. Another difference lies in the fact that Indian and Persian decoration is confined almost exclusively to plant life motifs. The Persians, however, intersperse medallions and human figures, though of distorted or form. A common method of the Indian dec oration is stippling on a white, yellow or light scarlet ground. Several coats of transparent lacquer are laid over the painting. The Indians also do a relief decoration under lacquer, the embossed parts being made up of a lead and glue substance placed on the surface of the ob ject, coated with white, then allowed to dry thoroughly, after which it is carefully carved. The surface then receives a coat of lacquer of the desired color and, lastly, several more layers of transparent lacquer. Indian lacquer pieces range from bowls, boxes, fan-holders and plates to book-covers. And in Cashmere, where the best lacquer ware is made, the product extends to chairs, tables, even bed steads. The body of Indian and Persian pieces is paper, papiermache or very light wood.