LACQUER-WORK (Fr., Sp., Port. large, from Port. /ace, sealing-wax, from Pers. luk, Hind. lukh, lac. from Skt. hIles(1, lae-inseet. from lahsa, hundred thousand; so called from the great numbers of the inseet in a single nest). In the so-called laequer-work of Japan no lac is used, but a natural varnish, which is obtained by tap ping the Rims rernicifere or varnish-tree. This tree, which lives to a great age. belongs to the same genus as the American poison ivy and poi ' son sumaeh. Usually, it, is not tapped until about ten years old, and the best sap is obtained from trees one hundred years old or more. The process of tapping is elaborate, several instruments being employed and several incisions made. The crude liquor is prepared for market by simply drying it in the sun. The process of drying is facilitated and the quality of the varnish improved by add ing water. This curious feature of the drying process makois it necessary to dry lacquer-work in a close damp cupboard. as it will not dry properly under ordinary atmospheric conditions.
Several different varnish preparations are used in making a single piece of lacquer-work. Seshine urushi is a varnish usually prepared by adding to the erode liquid a jelly composed of seaweed and finely grated potato. This is used as a priming coat, and in the subsequent processes is introduced between coatings of other mixtures. Other varnishes are formed by mixing with the seshinc urushi, or with the crude varnish, wheaten flour, burnt clay, or other sub stances. In black lacquer-work the final black varnish is prepared by adding to the crude lacquer a coloring matter made by boiling iron filings in strong rice vinegar, and then exposing the mixture for several days to the rays of the sun. After the woodwork to be lacquered has had the joints properly filled and the surface primed, the article is carefully covered with hempen cloth accurately cut and fitted to the surface. This effectually prevents cracking of the wood and springing of the joints, and forms a foundation for the successive coats afterwards applied. The first layers of varnish are laid on with a spatula, each layer being dried from 12 to 50 hours in a damp closet, as already de scribed. The final layers ale applied with a brush made from human hair. When dried, each coat of varnish is thoroughly polished, at first. with a whetstone, later with a mixture of burnt clay and calcined deer's horn, and finally with several coats of calcined deer's horn laid on with the fleshy part of the thumb. For ordinary lacquer-work over thirty distinct and separate operations consuming more than twenty days, arc required, at least fifteen different coats of var nish being applied. For finer work many more coats are used. There are also cheaper grades made with less care.
Colored laequer is produced in much the same way, a pigment being added to the final coats of varnish, after a foundation of uncolored lac quer is laid. Gold lacquer and aventurine lac quer are produced by mixing gold or bronze powder with the prepared varnish. In aven
turine work, only enough powder is added to give the surface a mottled appearance. In gold lacquer enough of the powder is used to impart an even dull metallic appearance to the sub stance. Ornamental designs, either flat or em bossed, are obtained by applying to the lacquered surface different gold or colored lacquers. In in crusted or mosaic work the surface of black lae quer is first made as described above. The spaces to be neenpied by the inlaid pattern are then sunk through the polished surface into the wood, to give a firm hold to the pieces to be inlaid, which are cemented into their places. Inerusted work is also done on gold and aventurine lacquer, and for this purpose ivory, mother-of-pearl, and metal are freely used.
Lacquer-work of artistic value is also produced in Persia, India. and China. which is in part of the same general character as that of Japan. though immeasurably inferior in variety and in artistic excellence. It is of gold on a black ground, or what seems to be gold, though not very brilliant: sometimes also in gold, on a ground of yellow and brown of different shades. A peculiar ware, known ordinarily as Fu-ehow lacquer, is thought. to be made recently in direct imitation of the lacquer of Japan, which it does not seriously rival. Another variety is that in which the resinous coating is of consider able thickness,. an eighth of an inch or more. and carved in relief with figures and flowers of great decorative beauty. This is more usually red, but it is also made of black lacquer in China, as well as in Japan.
In India the ware known as Lahore lacquer is made in many parts of the Peninsula. but that of Lahore is thought to be more varied in color and mofe artistic. A material closely resembling sealing-wax is the substance employed. and, as lac in the proper sense of the word is prepared in many parts of India. it is probable that the decorative lacquers are of the same material. It has no relation at all to the ware of China and Japan. Much of the so-called lacquer is, like that of Persia. nothing more elaborate than a highly varnished painting on paper. The ground of this ware, both in Northern India and in Per sia, is generally paper; that is to say. a stiff paper board, not unlike papier-mach& In Bur ma a very beautiful lacquer is made, celebrated its elasticity, but it has no pretension to such artistic dignity or artistic range as the Japanese ware. The attempt which was made in eigh teenth-century furniture to imitate the exquisite polish of the Japanese lacquer-work was not entirely successful.
BIBLIOGRAPHY. Consult Kurokana, "The DeBibliography. Consult Kurokana, "The De- velopment of Gold Lacquer Work in Japan." in The Far East for November 29, 1897 ; Andsley, Ornamental Arts of Japan (London. 1885), con tains an interesting detailed description of Jap anese lacquer-work.