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How does taka-maki-e differ from hiramaki-e in Japanese lacquerwork?
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lacquerwork
Imperial Chinese throne of the Qianlong emperor (reigned 1735–96), red lacquer carved in dragons and floral scrolls, Qing dynasty; in the Victoria and Albert Museum, London.
In Japanese lacquerwork, the primary distinction between hiramaki-e and taka-maki-e lies in the physical relief of the design:
- Hiramaki-e: This technique features a low-relief or "flat" design. The pattern is created by painting a design with lacquer, sprinkling it with metallic powder, and then sealing it with further layers of lacquer and polishing.123
- Taka-maki-e: This technique is characterized by a high-relief or "bold" relief design.12
While hiramaki-e was a foundational form of maki-e developed during the Heian period, taka-maki-e gained significant prominence during the Kamakura and Muromachi periods, often overshadowing the flatter technique. In later periods, these methods were sometimes combined, such as in shishiai togidashi maki-e, which integrated high-relief elements with the polished togidashi process.34