拍品 44
44
A Fine and rare SUZURIBAKO [writing box]
Buyers from within the EU: VAT payable at 17.5% o… 显示更多
A Fine and rare SUZURIBAKO [writing box]

ATTRIBUTED TO IGARASHI DOHO I (D. 1678), EDO PERIOD (MID-17TH CENTURY)

细节
A Fine and rare SUZURIBAKO [writing box]
Attributed to Igarashi Doho I (d. 1678), Edo Period (Mid-17th Century)
The rectangular suzuribako with overhanging cover, the black ground decorated in gold usu-niku-takamaki-e, gold and pewter heidatsu, rich kirikane, inlay of shell, tsunagaki and bands of fine nashiji, with the flowers and grasses of an autumn field, including kiku, ominaeshi [patrinia scabiosaefolia], kikyo [Chinese bellflower] and suzuki [pampas grass], continuing over the sides, the interior of the box, cover and brush trays decorated with dense gyobu, the gilt copper mizuire of mokko form, the top surface decorated with formalised flower buds on a nanako ground, set in a shibuichi trough with a gilt copper seppa [decorative washer], the base, the bases of the brush trays and suzuri [inkstone] tray in sparse nashiji, the box, cover and two brush trays with pewter rims, slight lifting of foil on the cover
24.3cm. long
注意事项
Buyers from within the EU: VAT payable at 17.5% on just the buyer's premium (NOT the hammer price) Buyers from outside the EU: VAT payable at 17.5% on hammer price and buyer's premium. If a buyer, having registered under a non-EU address, decides that an item is not to be exported from the EU, then he/she should advise Christie's to this effect immediately.

拍品专文

The first Igarashi Doho moved, together with his adopted son Doho II, and pupil, Shimizu Kyubei, from Kyoto, his native city, to Kanazawa in Kaga at the behest of Maeda Toshitsune, daimyo of the province in around 1700. Doho was the son of Igarashi Hosai and a descendant of Shinsai (c.1407-90), the founder of the school. After the fame of Igarashi lacquer was established in Kanazawa (it became known in as Kaga-makie), Doho returned to Kyoto, where he died in 1678. Neither of the first two Doho masters signed their work.

The loss of lacquer lines from some of the gold petals of the chrysanthemums is due to the use of thick gold foil as a base for the blooms. The coefficient of expansion of gold being very different from that of lacquer, when a sudden change of temperature occurs the gold shrinks or contracts faster than the lacquer, breaking the adhesion between the two. The technique was, nevertheless, used in the making of some of the finest of Japanese lacquers.

For two further suzuribako by Doho I see Tokyo National Museum, Special Exhibition Oriental Lacquer Arts (Tokyo, 1977), nos. 301 and 302. Both have designs similar to this, of chrysanthemums and grasses, but over a gold ground.