著者

中川 千咲

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.235, pp.8-18, 1965-03-31

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Handicraft designs of the Momoyama Period are gorgeous and fresh and mark an epoch in the history of Japanese handwork. The Kōdaiji has a household shrine with makie (lacquer painted and decorated in gold) dated 1596 and furniture with makie which was used by TOYOTOMI, Hideyoshi (1536—1598, a war lord) which exemplify the handicrafts of that period. Lacquer wares of the same style and technique are, in general, called "Kōdaiji makie." In this paper the author discusses the characteristics of the design of an ink-slab box of this style in relation to the makie wares in the Kōdaiji. In the Kōdaiji, there is a letter box with the same kind of decoration as this ink-slab box. Both of them have diagonally divided picture planes; a section on the ink-slab box has a design of pine trees imitating the Kano School painting of that time, and one on the letter box has the same kind of bamboo design. Both show a traditional taste. In another section of the former, stemmed chrysanthemums and other flowers are patternistically rendered and in another section of the latter, autumn grasses are represented in a naturalistic way but with the same kind of patternistic flowers and leaves. The style and the technique of both are quite similar. And, further, the design of autumn grasses of the letter box has characteristics in common with that of the household shrine, which is stylistically close to the paintings of the Kano School of the day. These facts suggest that the design of the chrysanthemum of the ink-slab box has some relation to contemporary painting. The method of decoration using diagonal divisions is said to have been borrowed from the design pattern of costumes. But since it has earlier example in makie works of the Muromachi Period, the author considers that those now in question are a development of them. In other words, the design of this inkslab box combines two kinds of design principles. One is a pattern borrowed from the then prosperous Kano School of painting and is traditional in compositional method and technique. The other also is based on the Kano School of painting but is stylistically newer and bolder. It is said that KANO, Mitsunobu (1561—1608), a famous painter of the Kano School, may have some connection with the makie designs of the Kōdaiji. Although there may be that kind of possibility, no one has clarified it. The household shrine was made by Chōan, the seventh master of the Kōami Family (1569–1610), and others; and other pieces of furniture are also said to have been made by the same people. This inkslab box also must have the same origin. However, judging from the rigidity of the expression, it may date from a little later. The platform on which the household shrine is placed also has makie design and an inscription. The inscription suggests that it was made by a group led by a younger brother of Chōan. On the other hand a priest's chair is decorated with several patterns of different quality from the others. As Chōgen (died in 1607), a younger brother of Chōan, created a unique design, there is a probability that he had some relation to it.

著者

中川 千咲

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.235, pp.8-18, 1965-03-31

---

Handicraft designs of the Momoyama Period are gorgeous and fresh and mark an epoch in the history of Japanese handwork. The Kōdaiji has a household shrine with makie (lacquer painted and decorated in gold) dated 1596 and furniture with makie which was used by TOYOTOMI, Hideyoshi (1536—1598, a war lord) which exemplify the handicrafts of that period. Lacquer wares of the same style and technique are, in general, called “Kōdaiji makie.” In this paper the author discusses the characteristics of the design of an ink-slab box of this style in relation to the makie wares in the Kōdaiji. In the Kōdaiji, there is a letter box with the same kind of decoration as this ink-slab box. Both of them have diagonally divided picture planes; a section on the ink-slab box has a design of pine trees imitating the Kano School painting of that time, and one on the letter box has the same kind of bamboo design. Both show a traditional taste. In another section of the former, stemmed chrysanthemums and other flowers are patternistically rendered and in another section of the latter, autumn grasses are represented in a naturalistic way but with the same kind of patternistic flowers and leaves. The style and the technique of both are quite similar. And, further, the design of autumn grasses of the letter box has characteristics in common with that of the household shrine, which is stylistically close to the paintings of the Kano School of the day. These facts suggest that the design of the chrysanthemum of the ink-slab box has some relation to contemporary painting. The method of decoration using diagonal divisions is said to have been borrowed from the design pattern of costumes. But since it has earlier example in makie works of the Muromachi Period, the author considers that those now in question are a development of them. In other words, the design of this inkslab box combines two kinds of design principles. One is a pattern borrowed from the then prosperous Kano School of painting and is traditional in compositional method and technique. The other also is based on the Kano School of painting but is stylistically newer and bolder. It is said that KANO, Mitsunobu (1561—1608), a famous painter of the Kano School, may have some connection with the makie designs of the Kōdaiji. Although there may be that kind of possibility, no one has clarified it. The household shrine was made by Chōan, the seventh master of the Kōami Family (1569–1610), and others; and other pieces of furniture are also said to have been made by the same people. This inkslab box also must have the same origin. However, judging from the rigidity of the expression, it may date from a little later. The platform on which the household shrine is placed also has makie design and an inscription. The inscription suggests that it was made by a group led by a younger brother of Chōan. On the other hand a priest's chair is decorated with several patterns of different quality from the others. As Chōgen (died in 1607), a younger brother of Chōan, created a unique design, there is a probability that he had some relation to it.