拍品專文
Published
Yanagibashi Shin, Shikkei: dento kogei (Lacquer: traditional craft), Nihon no bijutsu, no. 305 (Shibundo, 1991), fig. 117
The artist, who lives in Tokyo, works in traditional maki-e, the most distinctly Japanese and technically sophisticated lacquer style. As can be seen here, he specializes in minute and exquisitely detailed work, using motifs drawn from nature. Using a wide range of techniques, he creates handsome modern compositions.
He was trained first by his father, Murose Shunji (1911-1989), a Wajima lacquer artist who worked in the gold-filled engraving (chinkin) style, and then studied under Taguchi Yoshikuni (b. 1923), who was pupil of Masuda Gonroku. In 1976 he received an advanced degree from the lacquer art department of the Tokyo University of Arts and Music. He has founded the Urushi Institute of Research and Restoration. Much of his work today involves restoration of important old lacquers.
In 1989 the artist used the same design of daylilies for a cold-water container for the tea ceremony which was exhibited in 1996 at the Japan Society Gallery, New York (Masami Shiraishi, Rainbows and Shimmering Bridges: Contemporary Japanese Lacquerware [New York: Japan Society, 1996], pl. XI).
Yanagibashi Shin, Shikkei: dento kogei (Lacquer: traditional craft), Nihon no bijutsu, no. 305 (Shibundo, 1991), fig. 117
The artist, who lives in Tokyo, works in traditional maki-e, the most distinctly Japanese and technically sophisticated lacquer style. As can be seen here, he specializes in minute and exquisitely detailed work, using motifs drawn from nature. Using a wide range of techniques, he creates handsome modern compositions.
He was trained first by his father, Murose Shunji (1911-1989), a Wajima lacquer artist who worked in the gold-filled engraving (chinkin) style, and then studied under Taguchi Yoshikuni (b. 1923), who was pupil of Masuda Gonroku. In 1976 he received an advanced degree from the lacquer art department of the Tokyo University of Arts and Music. He has founded the Urushi Institute of Research and Restoration. Much of his work today involves restoration of important old lacquers.
In 1989 the artist used the same design of daylilies for a cold-water container for the tea ceremony which was exhibited in 1996 at the Japan Society Gallery, New York (Masami Shiraishi, Rainbows and Shimmering Bridges: Contemporary Japanese Lacquerware [New York: Japan Society, 1996], pl. XI).