Inlay is a decorative technique in which grooves or cavities are carved into a base material and filled with different materials to create patterns or images. This technique is found across cultures worldwide and is known in English as inlay.
Although its finished appearance may resemble marquetry, which combines different types of wood, inlay is considered a distinct technique due to its fundamentally different production process.
In this article, we introduce several representative examples of inlay techniques from Japan and around the world.
■ Japanese Inlay Techniques
Raden (Mother-of-Pearl Inlay)
Raden is an inlay technique that uses thinly cut shells such as turbo shell or abalone, embedded into lacquerware or wood surfaces. The iridescent colors shift depending on the viewing angle, creating a distinctive shimmering effect.
Basic production process (for lacquerware):
- Thinly slice shell and cut it into decorative shapes
- Carve grooves into the lacquer surface
- Apply lacquer to the back of the shell and insert it into the grooves
- Apply a thin layer of lacquer over the surface and polish to finish
Mother-of-pearl inlay using lacquer developed throughout East Asia, including China. However, the combination of raden with maki-e (gold powder decoration) represents a uniquely Japanese evolution of the technique.
Metal Inlay — Precision Cultivated Through Sword Fittings
Metal inlay involves embedding gold or silver into iron or copper bases. In Japan, this technique evolved alongside the aesthetics of sword fittings, achieving an exceptional level of precision that is highly regarded internationally.
Basic production process:
- Carve patterns into the metal base
- Place gold or silver sheets or wires into the grooves
- Hammer the metals to secure them
- Polish the surface to complete the work
Various regional schools exist, such as Kaga, Kyoto, and Higo inlay. Techniques include nunome inlay, hira-zogan, and taka-niku zogan.
■ Inlay Techniques Around the World
Italy: Pietre Dure
Pietre Dure is a hardstone inlay technique that developed in Florence from the 16th century onward. Natural stones such as lapis lazuli, malachite, and jasper are precisely cut and assembled to depict flowers, landscapes, and still lifes. Because stone colors and patterns replace brushstrokes, the technique is often called “painting in stone.” It was favored by European royalty for furniture and decorative panels.
Europe: Tarsia / Intarsia
Tarsia, also known as intarsia, is a wood inlay technique that developed primarily in Europe. Different types of wood are cut and assembled to create pictorial designs with depth, shading, and perspective. During the Italian Renaissance, it was widely used in monasteries and palatial furniture. The technique highlights the natural beauty of wood without relying on paint or pigments.
China: Filigree Inlay (Huasi Xiangqian)
Filigree inlay, known in Chinese as Huasi Xiangqian, is a traditional metalworking technique using extremely fine gold or silver wires. The wires are twisted and woven into geometric or floral designs, into which gemstones, jade, or enamel are set. Based on metalworking traditions from the Warring States and Han periods, the technique was highly refined during the Tang, Ming, and Qing dynasties.
The delicate openwork structure allows for remarkably light and intricate forms, commonly used for crowns, Buddhist ritual objects, boxes, and ornamental hairpieces. The interplay of fine metal lines and colorful inlays creates a refined yet luxurious aesthetic.
Today, filigree inlay is registered as an item of China’s Intangible Cultural Heritage and is internationally recognized as a decorative art form.
India: Parchin Kari
Parchin Kari is a marble inlay technique developed in India, in which gemstones and colored stones are embedded into white marble to form floral and botanical motifs. The most famous example is the decoration of the Taj Mahal. Refined during the Mughal period under Persian influence, the technique requires extraordinary precision and labor. Unlike small-scale craft inlays, Parchin Kari is characterized by its monumental architectural application.
Conclusion
Inlay is a universal decorative technique born from the combination of materials and meticulous craftsmanship. Despite sharing the same fundamental concept, the expressions of inlay vary greatly by region—from the delicate shimmer of Japanese raden and metal inlay, to the pictorial stone compositions of Pietre Dure, the ornate metalwork of Chinese filigree inlay, and the monumental marble inlays of India.
Differences in technique create entirely different atmospheres and aesthetics. By exploring these diverse traditions, we gain deeper insight into the cultural values and artistic sensibilities of each region.
We invite you to compare Japanese and global inlay techniques and discover the forms that resonate most with you. The beauty of inlay, woven from tradition and material, continues to captivate across time and borders.
