Japanese mother of pearl inlay in Thailand: The Art relationship from the port city “Nagasaki”
Issued Date
2022-01-01
Resource Type
ISSN
16867459
eISSN
28220668
Scopus ID
2-s2.0-105010700899
Journal Title
Journal of Thai Studies
Volume
18
Issue
1
Start Page
161
End Page
202
Rights Holder(s)
SCOPUS
Bibliographic Citation
Journal of Thai Studies Vol.18 No.1 (2022) , 161-202
Suggested Citation
Honghengseng K. Japanese mother of pearl inlay in Thailand: The Art relationship from the port city “Nagasaki”. Journal of Thai Studies Vol.18 No.1 (2022) , 161-202. 202. Retrieved from: https://repository.li.mahidol.ac.th/handle/20.500.14594/111344
Title
Japanese mother of pearl inlay in Thailand: The Art relationship from the port city “Nagasaki”
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Author's Affiliation
Corresponding Author(s)
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Abstract
At the present time, almost all of the Japanese mother of pearl inlay, or “raden”, found in Thailand is from Nagasaki, a port city on Kyushu island, a center of economic and maritime trade routes. The maritime trade under royal patronage was a key factor in the art relationship between Thailand and Japan. The kings of Thailand who had a passion for East Asian art, especially Chinese and Japanese art, were King Rama III and King Rama IV, both of whom ordered Japanese mother of pearl inlay to decorated temples and royal articles of use, including 1) mother of pearl inlay on windows and doors of Ratchapradit Sathitmahasimaram Temple, Bangkok; 2) mother of pearl inlay on windows and doors of Nang Chi Worawihan Temple, Bangkok; 3) mother of pearl inlay on a Late Edo period chair in the Pramot Mahaisawan Throne Hall, Phra Nakhon Khiri National Museum, Phetchaburi Province; 4) mother of pearl inlay on a partition of the Wehart Chamrun residential hall of Bang Pa-In Royal Palace, Phra Nakhon Si Ayutthaya Province; 5) mother of pearl inlay on a cigarette cylinder box of Wat Niwet Thammaprewat Temple, Phra Nakhon Si Ayutthaya Province; 6) mother of pearl inlay on a pair of long covered plates used to protect palm leaf manuscripts in the National Library, Bangkok; 7) mother of pearl inlay on a round case in the National Museum, Bangkok; and 8) His Royal Majesty’s ship, Maeklong, which built at the Uraga shipyard, Yokosuka, Japan. There is a difference in terms of materials use in Thai and Japanese mother of pearl inlay. For Japanese articles, the lacquer is Urushiol, similar to that used in Korea and China. However, for articles made in Thailand, the lacquer is Thitsiol, similar to that used in Myanmar. Moreover, Japanese articles always use pearl oyster and abalone that is more shimmering, but Thai articles often use pearl oyster, nile top shell and conch. In addition, the technical tools Japanese craftsman use for “makie”, or sprinkled gold and silver metal powder, is made of a bamboo tube, paintbrush, metal spoon and tool for knocking out the metal dusk. With respect to techniques, Nagasaki mother-of-pearl inlay typically uses a thin shell, although in some cases Japanese and Thai mother of pearl inlay are similar in the use of a thick shell inlay technique. Finally, Japanese mother-of-pearl inlay always uses natural motifs, such as flora, trees, birds, viewpoints and people’s way of life. On the other hand, Thai motifs are in fluenced by Thai literature, Buddhism and the royal institution.