Raden

There are many ways that {{transliteration|ja|raden}} is produced, with all techniques classed under three main categories: {{transliteration|ja|atsugai}} (using thick shell pieces), {{transliteration|ja|usugai}} (using much thinner pieces), and {{transliteration|ja|kenma}} (the thinnest application of shell pieces).

In {{transliteration|ja|atsugai raden}}, the shell is often cut with a scroll saw, then finished with a file or rubstone before application. In {{transliteration|ja|usugai raden}}, the thinner shell pieces are usually made using a template and a special punch. {{transliteration|ja|Kenma raden}} is fashioned similarly to {{transliteration|ja|usugai raden}}.

Methods of application are varied. Thick shell pieces may be inlaid into pre-carved settings, while thinner pieces may be pressed into a very thick coating of lacquer, or applied using an adhesive and then lacquered over. Other methods use acid washing and lacquering to produce different effects.

{{transliteration|ja|Raden}} is especially combined with {{transliteration|ja|maki-e}} – gold or silver lacquer sprinkled with metal powder as a decoration.

The basic technique of {{transliteration|ja|raden}} originated in Egypt around 3500 BC, and the technique spread along the Mediterranean coast.[https://web.archive.org/web/20150601021848/https://kotobank.jp/word/%E8%9E%BA%E9%88%BF-147428 Kotobank. Raden.] Encyclopedia Nipponica.Masayuki Murata (2020) Kiyomizu Sannenzaka Museum Masterpieces (清水三年坂美術館名品選) p.71. {{ISBN|978-4-9908614-1-4}} One theory is that the technique of {{transliteration|ja|raden}} in the East was introduced from the Sasanian Persia to Tang China, and another theory is that it already existed in the Shang dynasty, though the former theory is more likely. By the Tang dynasty, the technique, known in Chinese as {{transliteration|zh|luodian}}, had reached a very mature level, especially lacquer-backed {{transliteration|zh|luodian}} on bronze mirrors, which was a treasure of craftsmanship in this period. Bronze mirrors with {{transliteration|zh|luodian}} lacquer backs have been excavated from Tang tombs in Shanxian County and Luoyang, Henan Province.

File:A Late Qing Dynasty Glass Snuff Bottle with Abalone Shell Design, Canton, China, c.1860s.jpg

The basic technique of {{transliteration|zh|luodian}} was introduced from the Tang dynasty into Japan during the Nara period, where it is referred to as {{transliteration|ja|raden}}, using the same Chinese characters. In Japan, {{transliteration|ja|raden}} had been used in combination with Japanese various {{transliteration|ja|maki-e}} techniquesMasayuki Murata. 明治工芸入門 p.24. Me no Me, 2017 {{ISBN|978-4907211110}} since the Heian period, but {{transliteration|ja|raden}} declined in the Muromachi period.

From the Sengoku period to the Azuchi-Momoyama period, many Japanese lacquerware decorated with {{transliteration|ja|maki-e}} and {{transliteration|ja|raden}} attracted European people, and were exported through the Nanban trade via Portuguese and Spanish in response to the request of the Society of Jesus.[https://web.archive.org/web/20191225065626/http://en.urushi-joboji.com:80/urushi Urushi once attracted the world] urushi-joboji.com {{transliteration|ja|Raden}} was often used in the creation of European-style items, such as chests of drawers and coffee cups, and was very popular in Europe, as the mother-of-pearl covering the items contributed to their status as a unique luxury. The Japanese referred to these goods as "{{transliteration|ja|Nanban}} lacquerware", with {{transliteration|ja|Nanban}} meaning "Southern Barbarians", a term borrowed from the Chinese and, in 16th century Japan, meaning any foreigner, especially a European.

In the Edo period, many pieces of Japanese lacquerware were exported to royalty and nobility in Europe through Dutch East India Company and private traders. The lacquerware exported during the Edo period put more emphasis on artistic expression by {{transliteration|ja|maki-e}} using gold powder lavishly than {{transliteration|ja|raden}}. Until the 1690s, the Dutch East India Company monopolized the export of Japanese lacquerware throughout Europe, but the lacquerware using {{transliteration|ja|maki-e}} technique using a large amount of gold was so expensive that the customers were limited to royalty and nobility, and after 1690, it was exported through private trade.

After the Opening of Japan to foreign trade in the 1850s, {{transliteration|ja|raden}} work for export markets soon became significant again.[https://web.archive.org/web/20210225045531/https://www.asahi.com/articles/ASP1M74G9NDTUDCB001.html 蒔絵や螺鈿の技法美 世界に広めた漆器類 歴博で特集展.] Asahi shimbun. 20 January 2021 The Somada style and Shibayama style lacquerware using the {{transliteration|ja|raden}} technique became popular and were exported in large quantities from Yokohama to Europe and the United States. Somada ware is a style invented by Somada Kiyosuke in the 1670s, and is characterized by a regular pattern made of a combination of lacquer, finely cut shellfish, gold leaf and silver leaf. Shibayama ware is a style invented by Shibayama Senzo in the 1770s, characterized by the inlay of various materials such as shellfish, gold, silver, ivory, coral, tortoise shell, and ceramics.Yūji Yamashita. 明治の細密工芸 pp.60-61. Heibonsha, 2014 {{ISBN|978-4582922172}}

The {{transliteration|ja|raden}} works of a number of famous Edo period craftsmen are still celebrated, namely those of Tōshichi Ikushima, Chōbei Aogai, and the Somada brothers. {{transliteration|ja|Raden}} is widespread in Japan today, and is made for many applications, modern and classic.

• Damascening
• Mother-of-pearl carving in Bethlehem
• Nacre

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Category:Japanese lacquerware

Category:Japanese woodwork

Category:Japanese art terminology

Category:Seashells in art

Category:Japanese words and phrases

Category:Traditional art of East Asia