Gold on the Buddha: Reading Gilt Surfaces on Japanese Statues
Gold on a Buddhist image is more than decoration. It evokes the radiance of an enlightened being, described in scripture as golden-skinned. Japanese sculptors applied gold in several ways, and each technique ages in its own manner. Reading the gold tells you a great deal about a statue's age, history and condition.
Gilt bronze
The earliest Buddhist images in Japan, from the sixth to eighth centuries, include small figures of gilt bronze (kondō). Gold was dissolved in mercury, painted on the cast bronze and heated so the mercury evaporated, leaving a bonded layer of gold. Over centuries the gold wears from high points, revealing dark bronze beneath.
Gold leaf on lacquer
Most wooden statues were gilded by applying gold leaf over black lacquer (urushi-haku). The lacquer acts as both glue and a dark ground. As gold wears, black lacquer shows through, giving the warm, mottled surface collectors associate with old statues.
Painted gold
Kindei is powdered gold mixed with glue and applied with a brush, giving a soft, matte finish. It was used for details and for entire surfaces.
Kirikane
Thin strips of gold or silver leaf were cut and laid in patterns on robes, a technique called kirikane. It reached its height in the Heian and Kamakura periods. Fine kirikane is a sign of high-quality work.
Old gold and new
- Natural wear appears on high points, edges and areas touched in devotion.
- Regilding was common: temples renewed statues for festivals and anniversaries. A regilt surface is not a fault, but it should be described.
- Bright, uniform gold on an object described as very old deserves a closer look.
- Gold paint made with brass or bronze powder darkens and greens over time, unlike gold.
Care
Never clean gilded surfaces with water, solvents or polish. Dust gently with a soft brush. Flaking gold and lacquer need a conservator.