MSA  Vol.5 No.2 , February 2014
Study on the Appearance and Peel Strength of Byakudan-Nuri Works
ABSTRACT

This paper focuses on Byakudan-nuri, one of the traditional decoration techniques of Japanese Urushi (Urushi natural lacquer) crafts. Works produced by Byakudan-nuri express a unique luster color owing to painting gold or silver leaves along with highly transparent Urushi. The specific problem of Byakudan-nuri is the exfoliation of Urushi off the metal leaf surface, to solve a lot of repair work which is done nowadays. For Byakudan-nuri, silver leaf is preferred to a gold leaf. This paper tries to clarify the influence of the different kinds of metal leaves on the appearance and peel strength of works of Byakudan-nuri and, moreover, to elucidate the reason why silver leaf has been used more frequently for Byakudan-nuri until now. It was found out that the reason for the more frequent use of silver leaf in Byakudan-nuri is that silver does not seem to affect the appearance and peel strength in works produced by this technique.


Cite this paper
C. Narita, A. Endo, Y. Shimode and K. Yamada, "Study on the Appearance and Peel Strength of Byakudan-Nuri Works," Materials Sciences and Applications, Vol. 5 No. 2, 2014, pp. 81-85. doi: 10.4236/msa.2014.52012.
References
[1]   National Mining Association, “The History of Gold”.
http://www.nma.org/pdf/gold/gold_history.pdf

[2]   L. B. Hunt, “The Early History of Gold Plating,” Gold Bulletin, Vol. 6, No. 1, 1973, pp. 16-27.
http://dx.doi.org/10.1007/BF03215178

[3]   E. D. Nicholson, “The Ancient Craft of Gold Beating,” Gold Bulletin, Vol. 12, No. 4, 1979, pp. 161-166.
http://dx.doi.org/10.1007/BF03215119

[4]   A. Oddy, “Gilding through the Ages,” Gold Bulletin, Vol. 14, No. 2, 1981, pp. 75-79.
http://dx.doi.org/10.1007/BF03214601

[5]   D. K. Strahan and C. A. Maines, “Lacquer as an Adhesive for Gilding on Copper Alloy Sculpture in Southeast Asia,” In: T. Drayman-Weisser, Ed., Gilded Metals: History, Technology and Conservation, Archetype Publications, London, 2000, pp. 185-201.

[6]   Nara National Museum, “Catalogue of the 65 Annual Exhibition of Shōsō-in Treasures,” Special Exhibition, 2013, p. 49.

[7]   T. Ohgaku, “Kinpaku no busseinikansurukisotekikenkyuKinpaku no kougakutekikenkyu-(in Japanese),” Kanazawa-Haku Research Center, 2010.
http://www.kanazawahaku-giken.jp/pdf/jigyou_pdf05.pdf

[8]   T. Ohgaku, “Kinpaku no busseinikansurukisotekikenkyuKougakutekishuhouwomochiitakinpaku no keijyoukeisoku-(in Japanese),” Kanazawa-Haku Research Center, 2011.
http://www.kanazawahaku-giken.jp/pdf/jigyou23_t.oogaku.pdf

[9]   T. Wada, N. Takahashi, M. Demura and T. Kameyama, “La Feuille d’ or et ses HAKU-UCHIGAMI-L’ancien Papier Japonais en Frappant de Feuille d’or,” The Clay Science Society of Japan, Vol. 42, No. 2, 2002, pp. 89-96.

[10]   T. Tsurusako, H. Suzuki, Y. Saito and C. Kaito, “Alloy Formation by Solid-Solid Reaction between Gold Film and Lead Particle,” Journal of the Japanese Association for Crystal Growth, Vol. 30, No. 2, 2003, pp. 53-58.

[11]   M. Shimode, C. Narita, A. Endo, Z. Suganami, J. Oka, M. Ito and Y. Shimode, “Study on Coloring Effect of Gold Tooling,” Proceedings of the 56th Japanese Congress on Materials Research, Kyoto, 2013, pp. 149-150.

[12]   K. Shuppan, “ShitsugeiGiten,” KougeiShuppan, Tokyo, 2004, p. 272.

 
 
Top