The specimens of lacquered ware, consisting of cabinets, bowls, cups, trays, and despatch boxes, of different hues, were of great beauty, and put many of us out of conceit with our purchases of similar things of the Chinese. A most delicate-hued red appeared to be most prized by the Japanese, but the American taste was for the black and a rich maroon color.
The process of lacquering is represented as being a slow and tedious one. The workmen engaged over the lacquer in a boiling state, have their nostrils protected from its fumes. The varnish is the resinous product of a shrub called verosino-ki, or varnish-plant, and requires a tedious preparation to fit it for use. The coloring matter is mixed with it, by a long-continued rubbing on a copper plate; and the operation of lacquering is as tedious as the preliminaries. Five different coats, and sometimes more, are put on the article, suffered to dry, and then finely pummiced, until the lacquer acquires the requisite softness and brilliancy. Mother-of-pearl shells are inlaid and subjected to the same polishing process. The lacquering once thoroughly dry, it is impervious to the action of liquid heat, and although not a very pleasant idea to us, who are accustomed to the use of china-ware, the Japanese partake of hot soups and other dishes from vessels thus made. Boiling water may be poured upon the Japanese lacquer with impunity.
The tea of Japan has been represented by some writers as being superior to that of China, but what we saw at the entertainment, was not at all comparable to that of Cathay. Before the warm water is poured on them, the leaves have a very coarse appearance, and from the tea when made there arises not that delightful aroma that salutes the nostrils when you drink the fine beverage at Acow’s in Canton; indeed, they are no doubt indebted to China for the finest teas they drink, and perhaps the finest silks they wear.
One does not observe, in going about in Japan, the propensity for street-gambling which marks the towns of China—from the juvenile pig-tail playing with the vendor for the fifth of an orange, upward. The Japanese appear more elevated than this. When you notice playing it is generally in the house, and not gaming, but with a board and pieces resembling our chess. It was difficult to acquire much knowledge of the contest by overlooking; indeed, the contestants generally desisted very perversely during our presence. Our fleet-surgeon, Dr. Daniel S. Green, however, with his taste for chess, and an obstinacy of study which marks his investigation of every subject which he undertakes, deciphered the game of the Japanese, and this is the doctor’s account of it, from the best information he could obtain:—
“The Japanese game of Sho-ho-ye corresponds to our game of chess. This game is played by two persons, with forty pieces (twenty on either side), and upon a chequer-board of eighty-one squares-nine on each side. The board is of one uniform color, though the square might be colored, as with us, for the sake of convenience. The pieces are also of one uniform color, as they are used (at pleasure) by either party, as his own, after being captured from the adversary. They are of various sizes, are long and wedge-shaped, being at the same time sharpened from side to side, in front, and the name of each piece is inscribed upon it—both the original and the one assumed upon being reversed—(as below). Each player distinguishes his men, or pieces by always having the pointed and thin end forward. But they would be more readily known if the back parts of all were painted with some decided and striking color, as that part of his own men is seen by each player only, and if the fronts of all the men were painted of some other color, as that part of the adversary’s piece is seen by either player only. They are laid flat upon the board (front forward), and thus their names are plainly visible. They capture, as in chess, by occupying the places of the captured pieces. The king, Oho-shio, being the chief piece, can not remain in check—and when check-mated the game is lost.
“The pieces are named, and are placed upon the board as follows:—
“Oho-shio (king)—centre square, first row.
“Kin-shio (gold), or chief counseller—upon first row, and on either side of Oho-shio.
“Gin-shio (silver, or sub-counseller)—upon first row, and one on each square next outside Kin-shio.
“Kiema (flying-horse)—upon first row, and one on each square next outside Gin-shio.