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A Chinese "cinnabar red" carved lacquer box from the Qing dynasty (1736–1795), National Museum of China, Beijing. Vermilion (sometimes vermillion) [1] is a color family and pigment most often used between antiquity and the 19th century from the powdered mineral cinnabar (a form of mercury sulfide).
The result is similar but softer than the Chinese or Japanese lacquer. Burmese lacquer sets slower, and is painted by craftsmen's hands without using brushes. Raw lacquer can be "coloured" by the addition of small amounts of iron oxides, giving red or black depending on the oxide. There is some evidence that its use is even older than 8,000 ...
Carved lacquer or Qidiao (Chinese: 漆雕) is a distinctive Chinese form of decorated lacquerware. While lacquer has been used in China for at least 3,000 years, [ 1 ] the technique of carving into very thick coatings of it appears to have been developed in the 12th century CE.
The knowledge of the Chinese methods of the lacquer process spread from China during the Han, Tang and Song dynasties, [18] eventually it was introduced to Korea, Japan. [18] In Japan, the art of lacquerware-making came along with Buddhism and other cultural artifacts from China via the Korean Peninsula during the 8th century, [ 19 ] and carved ...
Chinese red, a bright red color also known as Han Red for the Han dynasty. It had the same primary ingredient as the western color vermilion . [ citation needed ] It was used in China to color murals, architecture, clothing, and especially lacquerware.
Toxicodendron vernicifluum (formerly Rhus verniciflua [1]), also known by the common name Chinese lacquer tree, [1] [2] [3] is an Asian tree species of genus Toxicodendron native to China and the Indian subcontinent, and cultivated in regions of China, Japan and Korea. [4]
The earliest extant lacquer object, a red wooden bowl, [2] was unearthed at a Hemudu culture (c. 5000–4500 BCE) site. [3] By the Han dynasty (206 BCE – 220 CE), many centers of lacquer production had become established. [1] The knowledge of the Chinese methods focusing on the lacquer process spread from China during the Han, Tang, and Song ...
Chinese pigments is similar to Western gouache paint in that it contains more glue than watercolours, but more so than gouache. The high glue content makes the pigment bind better to Chinese paper and silk as well as enabling works of art to survive the wet-mounting process of Chinese hanging scroll mountings without smudging or bleeding.
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