AN IMITATION-METAL LACQUER BOWL
江戶/明治時代 十九世紀中葉 仿響銅漆缽 款: 是真 (柴田是真)

EDO-MEIJI PERIOD (MID-LATE 19TH CENTURY), SIGNED ZESHIN (SHIBATA ZESHIN; 1807-1891)

細節
江戶/明治時代 十九世紀中葉 仿響銅漆缽 款: 是真 (柴田是真)
5 in. (12.7 cm.) diameter
出版
Kuo Hong-Sheng and Chang Yuan-Feng, chief eds. et al., Meiji no bi / Splendid Beauty: Illustrious Crafts of the Meiji Period (Taipei: National Taiwan Normal University Research Center for Conservation of Cultural Relics, 2013), no. pp. 364-365.
展覽
National Palace Museum, “The Arts and Cultures of Asia,” 2004. cat. no. 43.
Preparatory Office of the National Headquarters of Taiwan Traditional Arts, “Japan Arts of Meiji Period; Asia-Pacific Traditional Arts Festival Special Exhibition.” 2011.7.8-2012.1.8. cat. no. p. 122.
“Meiji Kogei: Amazing Japanese Art,” cat. no. 43. shown at the following venues:
Tokyo Geijutsu Daigaku Bijutsukan (Tokyo University of the Arts Museum), 2016.9.7-10.30
Hosomi Bijutsukan (Hosomi Museum, Kyoto), 2016.11.12-12.25
Kawagoe Shiritsu Bijutsukan (Kawagoe City Art Museum), 2017.4.22-6.11

榮譽呈獻

Takaaki Murakami
Takaaki Murakami

拍品專文

The lacquer artist Shibata Zeshin (1807-1891) was one of the elite group of craftsmen, schooled in the fashions of the Edo period who made the great leap from the dictates of the feudal society into the Age of Enlightenment and Westernization in Japan in the Meiji era (1868 -1912). He developed the technique of using lacquer as a painting medium which gives an impression of richness and three-dimensionality. The lacquer painting of Bonsai in the collection of Metropolitan Museum, shows Zeshin’s skillful brushwork and various texture with lacquer (fig. 1.)
Sahari is an alloy of copper, tin and lead that was used traditionally for flower containers and trays for Buddhist rituals and for vases, vessels and trays adapted for the practice of tea. Zeshin invented the technique of lacquer with a sahari finish, or sahari-nuri, to imitate the irregular and oxidized surface of the metal prototypes. Here, he adds a further twist by making the bowl of pressed paper, extremely light in contrast to the heavy metal bowl one would expect to encounter. The lacquer historian Takao Yo has explained that microscopic examination of Zeshin’s sahari-nuri shows it to be a mixture of metal powders resulting in colors “somewhere between” those of his lacquer imitations of patinated bronze (seido-nurii) and of silvered copper (shibuichi-nuri).

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