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18th century Japanese portable lunch-box set (Sagejūbako), medium lacquer on wood with hirmaki-e decoration in gold, silver, and aokin, with gilt-copper fittings, Harvard Art Museums.

#objects #japan #edo period #wood #18th century #art #art history #animals in art #cranes #hiramaki-e

LACQUER SUZURIBAKO [WRITING BOX] WITH LANDSCAPES, ATTRIBUTED TO THE IGARASHI SCHOOL, EDO PERIOD, 17TH CENTURY

The rectangular writing box with overhanging cover, finely decorated in gold, silver and black hiramaki-e, takamaki-e and hirame on a black ground and inlaid in gold foil with a scene of a fishing village beneath a silvery moon, the interior of the cover a lakeside landscape, the waterdropper in copper gilt depicting geese, rectangular slate inkstone with fundame edge, silver rims

Sotheby’s

#17th century #japan #japanese art #lacquer #hiramaki-e #takamaki-e #hirame #gold #landscape #硯箱

An Impressive Three-Case Inro

MEIJI PERIOD (LATE 19TH CENTURY)

Decorated in Shibayama style with extraordinary scenes of bakemono, kappa, blind masseurs, farmers and other figures being attacked by a snake skeleton, other figures being adapted into boats sailing on a stream with fishermen on the river bank, details in gold and silver hiramaki-e, gold foil and nashiji.

An inrō (印籠) is a traditional Japanese case for holding small objects, suspended from the obi (sash) worn around the waist. They are often highly decorated, in a variety of materials and techniques, in particular often using lacquer.

Because traditional Japanese robes lacked pockets, objects were often carried by hanging them from the obi in containers known as sagemono (a Japanese generic term for a hanging object attached to a sash). Most sagemono were created for specialized contents, such as tobacco, pipes, writing brush and ink, but the type known as inrō was suitable for carrying anything small.

Shibayama refers to the intricate carving and minute encrustation of various materials on to a ground material. The inlay typically consists of mother-of-pearl, ivory, tortoiseshell and coral, the combination creating a delightful contrast of colours and textures. Set in high relief above a wood, lacquer and sometimes ivory base, the inlay depicts figures, flora and fauna with a highly appealing three-dimensional effect.

Hiramaki-e, in Japanese lacquerwork, gold decoration in low, or “flat,” relief, a basic form of maki-e (q.v.). The pattern is first outlined on a sheet of paper with brush and ink. It is then traced on the reverse side of the paper with a mixture of heated wet lacquer and (usually red) pigment. The artist transfers the pattern directly to the desired surface by rubbing with the fingertips, a process called okime. In the next step (jigaki), the pattern that has been transferred is painted over with lacquer—usually a reddish colour. A dusting tube is used to sprinkle gold powder on the painted design while the lacquer is still wet. When the lacquer is dry, superfluous gold powder is dusted off, and a layer of clear lacquer is applied over the gold-covered design. When dry, it is polished with powdered charcoal. A second layer of lacquer is added, allowed to dry, and given a fingertip polish with a mixture of linseed oil and finely powdered mudstone.

The hiramaki-e technique, which dates from the latter part of the Heian period (794–1185), was preceded by togidashi maki-e, a technique in which not only the design but the whole surface is covered with clear lacquer after the sprinkling of metal powder; the lacquer is then polished down to reveal the design.

Nashiji, also called Aventurine, in Japanese lacquerwork, form of maki-e (q.v.) that is frequently employed for the background of a pattern. Gold or silver flakes called nashiji-ko are sprinkled onto the surface of the object (excluding the design), on which lacquer has been applied. Nashiji lacquer is then applied and burnished with charcoal, so that the gold or silver can be seen through the lacquer. The name nashiji is thought to have originated in the resemblance that the lacquer bears to the skin of a Japanese pear, nashi.

#inro #meiji period #japan #19th century #shibayama #hiramaki-e #nashiji

Les plus belles œuvres des artisans japonais.

Vases exécutés à partir de défenses d’éléphant - période Meiji jidai 明治時代 (1868-1912).

1 - vase en ivoire sujet décoré d’or et des couleurs rouge et noire. Technique : Hiramaki-e 平蒔絵 , takamaki-e 平蒔絵 , nashiji 梨子地 & hiramefun 平目粉. Hauteur : 25,7 cm

2 - Paire de vases en ivoire, signés Masamitsu. Chaque vase est incrusté dans le style shibayama 芝山 avec , parmi les fleurs, des coqs, des poules et des martins-pêcheurs. Hauteur : 34 cm

#ivory tusk vase #japan #vase #ivoire #japon #hiramaki-e #takamaki-e #nashiji #hiramefun #shibayama #meiji jidai #tezaiku #craft #artisanat

Inrō with Basket of Spring Flowers (obverse); Basket of Autumn Flowers (reverse)

Edo period (1615–1868)

late 18th–early 19th century

Japan

Five cases; lacquered wood with gold and silver hiramaki-e, togidashimaki-e, cutout gold foil application on black and nashiji lacquer groundNetsuke: lacquered wood with hiramaki-e; chrysanthemum and paulownia flowerOjime: silver bead inlaid with gold.

#inrō #edo period #18th century #19th century #lacquered wood #gold #silver #hiramaki-e #togidashimaki-e

Inkstone Box (Suzuribako) with Cherry Blossom and Fence Design

Unidentified Artist Early Edo period, 17th century

Medium: Lacquer on wood with decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), nashiji ("pear-skinned" ground), and kanagai (sheet gold and silver appliqué) techniques, with applied kirigane (cut gold and silver) and with sheet-lead inlays; stone, metal, and enamel fittings

Harvard Art Museums

#japan #japanese art #hiramaki-e #takamaki-e #cherry blossom