細節
A four-case gold-dust lacquer ground inro
decorated in gold and silver hiramaki-e, and togidashi-e on one side with egrets standing on the broken branch of a weeping willow tree above a stream and on the other side with three egrets flying towards the descending willow branches, compartments and risers gold nashiji; shoulders and rims gold lacquer -- 3¼in. (8.2cms) high, signed in gold hiramaki-e underneath Kano Sesshu no zu o naratte (after a design by Kano Sesshu) with a red lacquer pot-seal Kajikawa, bone ojime in the form of Daruma (red pigment), 19th Century; stained wood netsuke of the three monkeys mizaru, kikazaru and iwazaru, ('not seeing', 'not hearing' and 'not speaking') emerging from a chestnut, signed Chikusai, 19th Century.
See Colour Plate 1.
The greatest ink-painter of the Muromachi period (1392-1568), Sesshu is not generally regarded as a member of Kano school; the use here of the name Kano suggests that some inro-decorators were not particularly concerned about the precise sources of their designs.
decorated in gold and silver hiramaki-e, and togidashi-e on one side with egrets standing on the broken branch of a weeping willow tree above a stream and on the other side with three egrets flying towards the descending willow branches, compartments and risers gold nashiji; shoulders and rims gold lacquer -- 3¼in. (8.2cms) high, signed in gold hiramaki-e underneath Kano Sesshu no zu o naratte (after a design by Kano Sesshu) with a red lacquer pot-seal Kajikawa, bone ojime in the form of Daruma (red pigment), 19th Century; stained wood netsuke of the three monkeys mizaru, kikazaru and iwazaru, ('not seeing', 'not hearing' and 'not speaking') emerging from a chestnut, signed Chikusai, 19th Century.
See Colour Plate 1.
The greatest ink-painter of the Muromachi period (1392-1568), Sesshu is not generally regarded as a member of Kano school; the use here of the name Kano suggests that some inro-decorators were not particularly concerned about the precise sources of their designs.
注意事項
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