Urushi before refined is divided into oiled or non-oiled Urushi. Oiled Urushi is lustrous when it is painted but cannot be burnished, while Non-oiled Urushi is not lustrous itself, but it can be burnished to very lustrous. The Shita-nuri (base paintings) for different basic paintings use same methods for the good base painted with Urushi mixed with polish powders to harden the base. Then, Naka-nuri (interim paintings) is done to cover the base paintings and prepare for good Uwa-nuri (Finish paintings). Roiro-migaki use the designated color Urushi to paint the surface with repetitions of paint and burnish till the lustrous come out.
Hana-nuri uses Oiled Urushi to paint the surface. It already has natural luster when it dried. Roiro-migaki is much shinier than Hana-nuri, while Hana-nuri is much more popular in Japan, Especially among the Sa-doh (The Tea Ceremony). Technically Hana-nuri is much simpler than Roiro-migaki, but Hana-nuri does not allow any little mistake, as once a mistake is made, the work has to start all over again. Good Roiro-migaki doesn’t have any difficult technique, but it needs good quality domestic Urushi and good timing after two weeks for Urushi to dry and careful burning in order to get the best luster. Our Maki-e shi Omote says that all good results have to depend on the craftsman’s sixth sense.
The relationship between Tame-nuri and Irokeshidame-nuri is the same relationship between Rioro-migaki and Irokeshidame-nuri. The former one uses non-oiled Urushi to paint and the latter use oiled Urushi, and then the former needs repetitions of paint and burnish, while the other doesn’t need any burnishing at all, and keep the surface not shiny as Tame-nuri.