A cabinet or writing desk with two doors on a table, lacquered using the

 Maki-e 

is a Japanese lacquer technique consisting in the application of layers of polished urushi lacquer, a resin from the Rhus succedanea or Rhus vernicifera tree, also known as the lacquer tree. This resin is applied in layers and fixed with various pigments, and then sprinkled with gold and silver while the lacquer is still wet.

technique with a black background and chinoiserie decorations in red and gold.

The West’s fascination for oriental designs and techniques can be traced back to the 16th century and the beginning of trade with Japan (Keichô Embassy, 1613-1620). Thanks to this new commercial exchange the West was introduced to decorative works known as Nambam, in which lacquer is the main decorative element.

The lacquer technique used in Japan, called

 Maki-e 

is a Japanese lacquer technique consisting in the application of layers of polished urushi lacquer, a resin from the Rhus succedanea or Rhus vernicifera tree, also known as the lacquer tree. This resin is applied in layers and fixed with various pigments, and then sprinkled with gold and silver while the lacquer is still wet.

, with a black background, gold and pigmented decoration and mother-of-pearl inlays was soon incorporated into Western typology and tastes. The oriental aesthetic was grouped together under the name of japanning, in reference to its origins.

The growing interest in the West for this exquisite technique led to an increase in centres of production and in its commercialisation (East India Company). Imported lacquer elements were reused in Europe, while oriental artisans began to make different types of furniture following Western designs. Canton (Guangzhou), the main port for trade between Europe and China in the 18th century, supplied furniture that combined Western design and oriental decorative techniques.

This particular cabinet, made in pine, shows signs of the different methods used to assemble the various structural elements: the use of adhesives, half-lap joints, stretcher and panel, mortise and tenon joints and nails.

The upper body is a box with two folding doors crowned with a simple moulded cornice. The inside is divided by panels into two sections with three drawers and a top section in turn divided into a central compartment and four side compartments, with drawers and panels.

The structure reproduces the balance and symmetry of traditional Chinese architecture, in which the overall set of drawers, panels, friezes and compartments are arranged around a central space crowned with columns and steps. The various compartments, friezes and sliding doors are decorated with pierced carved patterns and gilded honeycomb, with dragons and geometric motifs. The back panels conceal secret spaces, a feature responding to the demands of Western writing desks, which were used to hide papers and documents.

The lower body or table on which the cabinet is supported, has a frieze and straight legs joined with mortise and tenon, surrounded by a simple moulding onto which the upper body of the cabinet fits. The upper part of the straight legs is finished with volutes.

The whole piece is lacquered in black, red and gold, using the Japanese

 Maki-e 

is a Japanese lacquer technique consisting in the application of layers of polished urushi lacquer, a resin from the Rhus succedanea or Rhus vernicifera tree, also known as the lacquer tree. This resin is applied in layers and fixed with various pigments, and then sprinkled with gold and silver while the lacquer is still wet.

technique. Here the black background is decorated with red and gold lacquer to highlight the

 urushi 

is a brownish resin which polymerises on contact with the air and dries. To obtain different colours of lacquer it is mixed with various pigments, such as iron oxide, which are what give it its tonality. The addition of gold leaf or sprinkled gold dust while it is still wet enhances the carved figures or adorns the background, and once dry it can be worked or carved.

-e decorative compositions.

The cabinet is embellished with chinoiserie motifs of landscapes, mountains, clouds, people, vegetation, mythological animals, architectural elements, etc. The front and sides are adorned with landscapes and architectural elements, while the panels are framed in a stretcher decorated with hexagons and areas with geometric and floral motifs. The inside of the doors are decorated with golden bamboo patterns against a black background, which is repeated in various panels inside the cabinet. The fronts of the lacquered drawers depict countryside scenes painted in gold with gestural brushwork, all framed with a decoration of gold clouds. At the back of the central space flanked by columns is a panel containing gold and Chinese characters.