高蒔絵の「高上げ」 Taka-Makie’s “Taka-age”


This time, in response to the request, I would like to summarize the “Taka-age” of Taka-Makie work.


The photo is a panel explaining the technique of the Tokyo National Museum. Here you will find an explanation of how to use charcoal powder for Taka-Makie work.


“Taka-age” refers to the process of raising the pattern high in the process of Taka-Makie work.


In the photo, it corresponds to the part of the blue frame.

高上げするための材料 Material for “raising”(Taka-age)


There are various materials to use when doing “Taka-age”.

  • 漆 Urushi (lacquer)
  • 炭粉 Sumi-ko (Charcoal powder)
  • 銀粉 Gin-pun (Silver powder)
  • 錫粉 Suzu-fun (Tin powder)
  • 錆漆 Sabi-urushi (paste:Tonoko powder + water + urushi)


For fine patterns, use fine powder or urushi.


Even lacquer shops will prepare sticky urushi for Taka-age by saying “for Taka-age”. You can also prepare your own by removing water or adding pigment to harden it. For the purpose of raising the height, gold powder etc. will be sprinkled later, so it will be an invisible part.

より高く上げるには。。。To raise the pattern higher. .. ..


If you apply urushi repeatedly, it will take a considerable amount of time because you have to dry it after each application.

  1. 錆漆 Sabi-urushi
  2. 錫粉/銀粉/砥の粉/炭粉 Suzu-fun/Gin-pun/Tonoko/Sumi-ko
  3. 漆 Urushi

上記は、高く上げられる順位です。The above is the ranking that can be raised higher.


I haven’t compared all the materials, but considering my teachers and the book about urushi work, I think that Sabi-urushi is the most easy to rise high.However, in this case, the surface to be raised is wide, and I think it will be used when the pattern is large.

高上げ用語 “Taka-age” terms


Depending on the material used for Taka-age, we will add “+ age(raising)”.


When it is raised high with lacquer (urushi), it is called “Urushi-age”.

高上げ材料 Taka-age material言い回し Wording
(Charcoal powder)
Suzu-fun (Tin powder)
Suzufun-age / Suzu-age
Gin-pun (Silver powder)
Ginpun-age / Gin-age


I used it casually and normally, but you may not understand what I’m saying if you are not familiar with it. For example, when people involved in lacquering see a very exciting Taka-Makie work. .. ..


“Is this Nani-age? It’s up very beautifully.” ※Nani何=what


“This is” Sabi-age “.


There may be conversations like the one above. Since the contents of the raised part of the Taka-Makie work cannot be seen, it cannot be understood without asking the Urushi Artisan. There is no particular rule on how to do Taka-age, and it depends on the height and perfection of each individual lacquer work pattern. I don’t think there is a particularly correct answer.

漆上げ Urushi-age


① Use urushi that is as sticky as possible and can be applied thickly.


And if you want to make a gap between the raised surfaces, apply a little inside so that the gap is not filled.


Since it is applied thickly, when drying it, slowly dry it at a humidity of around 50%. It is also necessary to devise so that it does not drip.


② Apply the same for the second time. Whether or not to apply a thick urushi coat depends on the pattern and design.


Depending on the location of the pattern, the height can be changed by changing the number of times the lacquer is applied.It is recommended to let it dry for at least one week. If the lacquer inside is half-dried, you cannot proceed with sharpening.


③ After it has dried thoroughly, sharpen it to prepare the surface. It depends on the degree of unevenness, but start with a whetstone of about # 800 and sharpen it from # 1000 to # 2000 to # 3000.


④ After sharpening to # 3000, polish with compound or “Abura-tonoko” (rapeseed oil + Tonoko powder).


※After polishing, wash thoroughly with soap to remove oil.


★ Preparing the surface well up to the process of ④ is the key to successful polishing after sprinkling gold powder.

⑤ ④の後に、スリ漆をすることにより、次の工程で金粉を蒔くために塗る漆の吸い込み止めの役割と細かな傷を埋める役割を果たします。

⑤ After ④, Suri-urushi is applied to prevent the suction of urushi applied to sprinkle gold powder in the next process and to fill small scratches.


Please refer to past posts for the Suri-urushi process.


The above steps ① to ⑤ are the process of “Urushi-age”. After this, there are endless options for sprinkling gold powder, placing Hirame-fun powder, and finishing after “Taka-age”.


“Urushi-age” is said to give a soft impression because it can be raised more flexibly than other Taka-age materials.

炭粉上げ/銀粉上げ/錫粉上げ Sumiko-age/Ginpun-age/Suzufun-age


The above three methods are to “Taka-age” by sprinkling powder.


This is a method in which the pattern rises next to “Sabi-age” because there is more powder in between than “Urushi-age”. However, since the raised contents are invisible, cheap metal powder is often used.


In addition to these powders, of course, there is also a method called “Kin-age/Kinpun-age” that uses gold powder luxuriously.


The basic process is the same, so I would like to explain them all together.


① Since the powder is sprinkled, if there is such a strong stickiness, the powder may not sink, so use a moderately sticky urushi.


Apply as thick and thick as possible without dripping.


② Sprinkle the powder with a powder cylinder(Funzutsu) or a hair stick (Ke-bo).


After sprinkling once, leave it for about 5 minutes. After confirming that the powder has sunk, sprinkle it in the same place again to firmly fix the powder.


If you can still see the lacquer from where you sprinkled it, sow it additionally.If the powder is not firmly contained here, it may cause shrinkage.


Another option is to sprinkle a large powder first and leave it for about 5 minutes, then put a slightly smaller powder inside.(Example: After sprinkling the powder of No. 9, add the powder of No. 7)


Be careful not to touch the lacquered part or the powdered part.And let it dry well.


③ Make sure that it is completely dry before doing Suri-urushi. To do Suri-urushi is also dried at a humidity of around 80% and a temperature of 20 to 25 ° C for at least one day.


To wipe off the Suri-urushi, wipe it off so that the Suri-urushi does not collect in the grooves around the “raised(Taka-age)” area. This Suri-urushi makes it easier to sharpen by doing it before sharpening and to firmly fix the powder.

(※参考投稿Reference post:スリ漆について About Suri-urushi


④ Lightly sharpen the unevenness of the surface with a # 800 to # 1000 whetstone. Lightly smooth out the unevenness of areas where a lot of powder is sprinkled or where there is little powder.


Be careful not to damage the surroundings. In particular, it is necessary to pay attention to the sharpening scratches of # 800 to # 1000, as the scratches may remain depending on the degree of sharpening.


⑤ Apply urushi to further prepare the surface and to make it adhere firmly. In this case, the urushi is also a little sticky. The thicker it is, the more you can sharpen it, so it is easier to prepare the surface. However, be careful not to apply it thickly where you do not want it to be thick.


⑥ Apply sticky urushi and let it dry slowly in the same way as the “Urushi-age” method.


If you want to make it a little higher than this, apply urushi again.


⑦ In the same way as the “Urushi-age” method, use the # 800 → # 1000 → # 2000 → # 3000 sharpening stones in order to sharpen.


The size of the grindstone may be slightly larger on a wide surface, but when sharpening a fine surface, use a smaller grindstone. Also, when sharpening the same area intensively, you need to be careful not to dent it with too much force.


⑧ In the same way as the “Urushi-age” method, after finishing the sharpening, polish with compound or Abura-tonoko to prepare the surface firmly.


After polishing, wash thoroughly with soap to remove oil.


⑨ In the same way as the “Urushi-age” method, Suri-urushi is applied and the “Taka-age (high raising)” process is completed.


As the height increases, the number of curved surfaces increases, so there are more points to pay attention to in each process.

錆上げ Sabi-age


The Sabi-urushi used for “Sabi-age” is the same as the Sabi-urushi used for the base.

錆漆 Sabi-urushi・・・
・砥の粉 Tonoko powder
・水 water
・生漆 raw urushi
上記の3つを混ぜて作った漆。Lacquer made by mixing the above three.

The ratio is by weight
Tonoko powder (3.0): Water (0.3-0.4): Raw urushi (1.5-1.8)

When it comes in contact with air and oxidizes, it looks like a blackish rust color, so it is called "Sabi-urushi".(rust="Sabi" in Japanese) 


How to use it depends on the design. for example···

  • 錫板で文様の型を作り、その型の抜かれている部分に錆漆を埋め、型を外す
  • 錆漆を柔らかくして筆で塗る
  • Make a pattern mold from a tin plate, fill the part where the mold is removed with Sabi-urushi, and remove the mold.



In the case of Sabi-urushi, the height rises at once, and the viscosity is adjusted to make it look even more angular than “urushi-age”.


Also, when using Sabi-urushi, there are various methods such as making use of the rough feeling of Sabi-urushi itself without sharpening too much. In other words, it depends on how the person who makes it wants to finish it.


All you have to do is face the premise of the process and how to dry the urushi, and then just try it.

  • 粘い漆は高く盛り上がるけれど、乾かし方と縮みに注意する
  • 研ぎの前はしっかり乾かす
  • しっかり乾いていないのに、無理に研ぎを進めない
  • 研ぎの番手は荒い番手から細かい番手と、順番に使用する
  • 高上げ後に金粉を蒔く場合は、しっかり表面が整えられている必要がある
  • Sticky urushi rises high, but I have to be careful about how to dry it and how it shrinks.
  • I must dry well before sharpening
  • Don’t force sharpening when it’s not dry
  • The sharpening count must be used in order from the rough count to the fine count.
  • When sprinkling gold powder after Taka-age, it is necessary to prepare the surface firmly.


What I have in mind is something like the above.


And the explanation of the panel at the Tokyo National Museum is roughly summarized in two, but if you actually combine the detailed processes, it will be a considerable number of processes just by “Taka-age”.


Also, the method differs depending on the person, so I would appreciate it if you could refer to it.


Looking at the beautifully finished Makie work, I would like to try it like this, and I ask and investigate how to do it, and try and error. However, even if I ask how to do lacquering, I cannot do the same thing because lacquering itself depends on the daily weather and working environment.


And after all, lacquer work is difficult. That is another interesting point.

参考文献 References


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