In the manufacture of Japanese lacquer there are three processes.
From mining the clay to make the lead, to the lacquer applied to the pencil, to the rubber eraser, to the metal band holding the eraser to the yellow paint, no one person knows how to make a complete pencil.
The employment of mother-of-pearl to, ornament lacquer grounds dates from a period as remote as the 8th century, but its use as a material for constructing decorative designs began in the 17th century, and was due to an expert called Shibayama, whose descendant, Shibayama SOichi, has in recent years been associated with the same work in TOkyO.
Sometimes painting is introduced into these panels and lacquer and metal clasps are added to the ribs.
The lacquer ware of Nyaung-u and other villages near Pagan is noted throughout Burma.
The togi-dashi design, when finely executed, seems to hang suspended in the velvety lacquer or to float under its silky surface.
In the days of the great dilettante Yoshimasa (1449-1490), lacquer experts devised a new style, laka-makie, or decoration in relief, which immensely augmented the beauty of the ware, and constituted a feature altogether special to Japan.
This new departure reached its climax in the Tokugawa mausolea of Yedo and NikkO, which are enriched by the possession of the most splendid applications of lacquer decoration the world has ever seen, nor is it likely that anything of comparable beauty and grandeur will be again produced in the same line.
In the beginning of the 19th century worked ShOkwasai, who frequently collaborated with the metal-worker Shibayama, encrusting his lacquer with small decorations in metal by the latter.
No important new developments have taken place during modern times in Japans lacquer manufacture.