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Elizabeth Kondo Editor. It is customary to use Mizuhiki to decorate envelopes or boxes which are to be given as gifts for various important occasions in Japan. The significance of the Mizuhiki is sometimes overlooked so I am happy to introduce to you this small and subtle ar It is customary to use Mizuhiki to decorate envelopes or boxes which are to be given as gifts for various important occasions in Japan.
The significance of the Mizuhiki is sometimes overlooked so I am happy to introduce to you this small and subtle art. Get A Copy. Kindle Edition. More Details Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Sense of Art Mizuhiki , please sign up. Be the first to ask a question about Sense of Art Mizuhiki. Lists with This Book.
This book is not yet featured on Listopia. Community Reviews. Showing Rating details. At the opening, two columns are engraved with the characters indicating the signature of the armory and its city of origin Sesshuu Osaka no juMunenoritsukuru: "Munenori, inhabitant of Osaka in the province of Sesshuu, did this". The shoulders are fastened to the back with hinges and hooked to the forehead with strings and frogged.
The metal most present is a steel alloy on which different metal alloys have been inserted welded, hardened, applied with rivets to create particular contrast effects. On the chest there are two lions faced at the top, and a series of ideograms claiming an invocation to the "great deity" Fuji Asama-daibosatsu. Numerous edges and finishes are made of brass and the stylized horns are in gold-plated amalgam of mercury information obtained through XRF analysis.
Detail of the ideograms on the front. From the raw sap drawn from the urushi tree foreign material and impurities are filtered out. Then slowly the water content is evaporated. The purification process is intended to produce the appropriate seasoning, viscosity, glossiness and transparency for use the refined urushi for painting. The use of urushi in the Japanese craft have a wide range of fine and decorative arts.
The Japanese lacquer urushi has three colors: black, red and golden. This lacquer covers the inner surfaces of the armor, the bowl of the helmet although it is very lacunous and all the lamellae on helmet, mask and shoulders of the cuirass. We can find the red lacquer pigments with cinnabar pigment identified by XRF technique under the peak of the helmet and on the inside of the mask.
Regarding the golden lacquer there is a small presence as decorative lines between the slots of the mask and shoulder blades of the cuirass. There are several clay layers under the lacquer with greater granulometry the first one to reach finer clay in the last layers , which are fragmented to urushi. Above this preparation several layers of lacquer are laid Heckman and Dei Negri The realization of two stratigraphic sections of the black lacquer coming from the inside of the cuirass and red lacquer resulting from an erratic fragment and not reattachable to the peak of the helmet and their observation at the optical and electronic scanning microscope SEM to investigate in more detail the complex succession of layers.
Credits T. The fabric is decorated by passing a thread and pulling it to create a wavy curl effect. The perimeter edges of the fabric and the central opening are finished with a suedeleather profile and colored with blue-green ink. The recognition of the different yarns on the armature was possible by observing the microscopic morphology.
The lacings are mainly made of colored silk and interwoven with different methods. Violet, white and purple-white mixed silk ties together all the steel slices. The helmet fixing cord and the ornamental knot on the bowl of the helmet are made of a linen rope covered by a strand of orange silk threads. The shoulder straps and sleeves were fastened to the back of the armor through purple silk cords, held by horn frogged.
On the cuirass, a beige cord tied to the forehead is used to be tied to a buttonhole, made of the same material as the closure. This depends also on the temperature and relative humidity, which were no suitable during storage and on its polymatericity. It is possible to note that corrosion areas are more concentrated around the damascening, assuming that the presence of a different metal is the cause of the formation of an electrochemical stack.
At a closer look through the use of the optical microscope, one can observe that the corrosive phenomenon has the appearance of many small spherical orange droplets; this morphology is characteristic of weeping iron Selwyn et al ;Scott and Eggert Copper and its alloys are covered with a more or less homogeneous surface oxidation, such that it was almost impossible to distinguish some elements of golden brass such as the rims of the helmet before cleaning.
Shibuichi alloy portions show a thick layer of black surface sulphurization. This type of oxidation has also been identified by the XRF analysis that found the presence of sulfur. In many areas there are scratches and abrasions, especially on ornamental horns where some golden areas have been removed from the front most exposed to man-made damage.
This latter type is most common in armor B54 and is found inside the cuirass and on the inside of the mask.
There are few black lacquer traces, especially in the undercuts, on the outer sides of the cuirass, the mask and the bowl of the helmet, which make it possible to state that these elements were previously completely lacquered, but the reasons for its complete detachment are unknown. Detail of a gap of black lacquer. In the most frequently manipulated areas, the oily residue left by the fingers is well visible; their contact with the lacquer produces very shiny areas and the impression of the fingerprints causes indelible micro-slots due to chemical reactions.
Many areas are also affected by scratches and abrasions.
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It is not positioned perfectly straight and there are circular abrasion marks on the lacquer. So defined and circular abrasion marks could make you think of the use of a drill that caused them during the breakdown of the metal. Silk trimmings have considerable weight resistance properties, but over time they lose their mechanical properties becoming very fragile and weakened.
They often have lacerations and, when mechanically stressed, show a noticeable loss of microscopic fibers due to the material's infiltration. The same phenomenon, aggravated by the orange dye, is found in the silk fabric of the helmet fixing cord and the ornamental knot on the bowl of the helmet. Here the silk has totally lost cohesion by making the helmet fixing cord lacunous and fragile.
All odoshi are covered with inconsistent dust deposits that give them up the original color. Tearing and abrasion can be found on the suede leather and colored ink edge, which are present as the edges of the textile inside the helmet.
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Many of the texts consulted Japanese, but also some Europeans foresee the re-adhesion of lacquer flakes by using the same urushi using the traditional Japanese methodology that provides for the repackaging of the entire degraded object, but an intervention with this procedure is indistinguishable from original lacquer and irreversible, but the traditional way for the conservation. Before applying the selected materials directly to the armour, they were tested on suitable, artificially aged mock up with the aim of making a choice about the adhesive that would have shown the best results.
The urushi lacquer, in addition to being an allergenic and toxic substance, is produced only in the east and the elaboration of the complex stratigraphy with which the lacquered objects were made and still today, involves the necessity of a baking oven, a damp chamber the use of materials from Japan. They could be able to carry out this great work thanks to adequate spaces where doing lacquering tests.
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Here they could find equipment for this aim and they also use of materials from Japan lacquers, clay, pigments, paintbrushes. The purpose with which the samples were made was to study the technique by reproducing the stratigraphy found on the helmet and recreating a surface natural and artificial aging that provided a photochemical degradation to test solvents for the cleaning before using them on the original. Thanks to their kindness and prof. Vilma Basilissi rapporteur for both thesis work it has been possible to see of the experimentation to be used for our work. The samples were made using die casting steel plates of dimensions 70xx0.
The same ki urushi was also used to make the subsequent preparative layers, mixing it with two different types of ground clay.
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Finally, they put two layers of fine lacquer suki urushi 6 , translucent lacquer in light color with the addition of pigments in powder to make the samples of red and black. Having submitted samples at extreme temperature conditions, which will never occur in museums and not, it is agreed that even with aging, it would still not be possible to obtain the desired behavior in a reasonable time.
After 6 to 7 cycles, the samples were mechanically stressed and already at a first bending of the metal the flakes began to rise, resulting in the perfect success of the accelerated aging method employed. Accelerated aging process of one of the mock up : a. After gathering all the information we have been able to find from case studies and articles on restoration work, we tried to make a product selection by eliminating those that, in our opinion, are unsuitable for this type of problem.
The choice of products was made on the basis of the compatibility of the material, the elasticity, the strength and the solvent used, preferring the dissolved materials in middle-polar or nonpolar substances.
Sense of Art Mizuhiki (Japanese culture)
Nevertheless, in order to satisfy the high number of publications using animal glues, we wanted to test a natural adhesive by trying to dilute it in alcohol instead of in water as is customary : Funori Carnazza ; Appolonia et al Among the synthetic resins, the use of Paraloid mostly B72 Chase ; Webb ; Lencz ; Mattila ; Rivers and Yamashita ; Schmuecker ; Dalewicz-Kitto et al was found in a large number of publications, so it was decided to use it but in the B67 dissolved in ligroin variant Borgioli and Cremonesi The choice of using apolar solvents has been used for the entire restoration as it is the only way to make a conservative restoration on the photo-oxidative lacquer that is sensitive to polar solvents.
The use of vinyl adhesives was verified especially in cases where the substrate affected by the re-adhesion was wood. This category is mostly characterized by products that are not suitable for our materials: emulsion resins Bidorini are not suitable for the presence of water Mowilith SDM5 , now out of production and replaced by Eva Art , hot reactivated resins Webb may cause discoloration of the degraded lacquer Beva OF , some have too high elasticity that will not allow them to hold the rigid lacquer flakes to the substrate Mowital B60HH Rivers and Yamashita , pure polyvinyl acetate Lencz is not advisable because of the release of acetic acid during aging processes PVAc AYAF.
At the end of these researches we ended up not introducing this category into our experimentation. Lastly, we chose to test a category that is not taken into consideration in the consulted bibliography, that of hydroxypropylcellulose adhesives widely used in the field of paper and leather restoration to understand its behavior without having examples to refer to of this category, he was chosen to employ the Klucel H Feller and Wilt For this reason, the use of two products dissolved in alcohols does not in this case constitute a detriment or degradation factor to the constituent materials.
Since the chosen adhesive be will have to be able to penetrate below the raised flakes, it will have to have a high adhesive strength while retaining low viscosity to allow it to infiltrate. To test these characteristics, a visual test was made to understand the properties of the adhesives at the selected concentrations. Four case lacquer flakes were preliminarily fixed on each specimen with a thread of Cyanoacrylate Attack to avoid their displacement during gluing. On the right side of each fragment, two drops of the different adhesives were placed.
With a fine tip brush, at the point where each flask had to be positioned, we applied two drops of different adhesives so that, even outside the flange edges, we were sure that the adhesion would have taken place throughout the surface. Bonding of lacquer flakes with the four adhesives and supply of pressure by using little weight. After the bonding process was completed, it was possible to proceed with the test chosen to check its effectiveness: the peeling test. The peeling test is a method used to test the properties of an adhesive that pastes two surfaces.