Difference between revisions of "Ryukyu lacquerware"
| Line 4: | Line 4: | ||
[[Lacquer]] techniques were introduced to [[Ryukyu Kingdom|Ryûkyû]] from [[Ming Dynasty|China]] in the late 14th century; Ryukyuan lacquer styles continued to draw heavily on these techniques down through the centuries, until the 19th century. | [[Lacquer]] techniques were introduced to [[Ryukyu Kingdom|Ryûkyû]] from [[Ming Dynasty|China]] in the late 14th century; Ryukyuan lacquer styles continued to draw heavily on these techniques down through the centuries, until the 19th century. | ||
| − | These included ''[[raden]]'' (mother-of-pearl inlay), an engraved gold technique unique to Ryûkyû called ''chinkin''<!--沈金-->, gold leaf (''hakue''<!--箔絵-->), painting in gold (''kindeie'')<!--金泥絵-->, colored lacquers (''iro-urushie''), and lead-based pigments (''mitsudae''<!--密陀絵-->). ''Raden'' was first introduced to Ryûkyû in [[1636]] by Kuniyoshi<!-- | + | These included ''[[raden]]'' (mother-of-pearl inlay), an engraved gold technique unique to Ryûkyû called ''chinkin''<!--沈金-->, gold leaf (''hakue''<!--箔絵-->), painting in gold (''kindeie'')<!--金泥絵-->, colored lacquers (''iro-urushie''), and lead-based pigments (''mitsudae''<!--密陀絵-->). ''Raden'' was first introduced to Ryûkyû in [[1636]] by [[Zeng Guoji]] (J: Sô Kuniyoshi)<!--曾国吉--> from [[Fujian province|Fujian]]. Kuniyoshi was then appointed ''kaizuri-shi'' or ''aogai-shi'' ("master of lacquerware") in [[1642]]. The technique for preparing the shellfish<!--煮貝の法--> was introduced by [[Omitake Hyobu|Ômitake chikudun no peechin Hyôbu]]<!--大見武憑武--> in [[1690]], who had studied such techniques in [[Hangzhou]]. <ref name=miyagi116>Miyagi Eishô 宮城栄昌, ''Ryûkyû shisha no Edo nobori'' 琉球使者の江戸上り, Tokyo: Daiichi Shobô (1982), 115-116.</ref> |
''Hakue'' involved simply placing pieces of gold leaf atop lacquered surface, while ''chinkin'' techniques (lit. "submerged/sunken gold") involved carving into the lacquered surface, and then filling in the space with gold leaf or gold powder. Chinese techniques of lacquer carving never took off in Ryûkyû, but instead, techniques of building up designs in relief using a lacquer putty, called ''[[tsuikin]]''<!--堆錦-->, became a distinctive element of Ryukuyan lacquerwares. This technique was first developed in [[1715]] by [[Higa Josho|Higa chikudun no peechin Jôshô]]<!--比嘉乗昌-->, based on Chinese techniques.<ref name=miyagi116/> Ryûkyû lacquer also often made use of basketry skeletons for boxes and other objects. | ''Hakue'' involved simply placing pieces of gold leaf atop lacquered surface, while ''chinkin'' techniques (lit. "submerged/sunken gold") involved carving into the lacquered surface, and then filling in the space with gold leaf or gold powder. Chinese techniques of lacquer carving never took off in Ryûkyû, but instead, techniques of building up designs in relief using a lacquer putty, called ''[[tsuikin]]''<!--堆錦-->, became a distinctive element of Ryukuyan lacquerwares. This technique was first developed in [[1715]] by [[Higa Josho|Higa chikudun no peechin Jôshô]]<!--比嘉乗昌-->, based on Chinese techniques.<ref name=miyagi116/> Ryûkyû lacquer also often made use of basketry skeletons for boxes and other objects. | ||
Revision as of 21:55, 22 January 2015
- Japanese: 琉球漆器 (Ryuukyuu shikki)
Lacquer techniques were introduced to Ryûkyû from China in the late 14th century; Ryukyuan lacquer styles continued to draw heavily on these techniques down through the centuries, until the 19th century.
These included raden (mother-of-pearl inlay), an engraved gold technique unique to Ryûkyû called chinkin, gold leaf (hakue), painting in gold (kindeie), colored lacquers (iro-urushie), and lead-based pigments (mitsudae). Raden was first introduced to Ryûkyû in 1636 by Zeng Guoji (J: Sô Kuniyoshi) from Fujian. Kuniyoshi was then appointed kaizuri-shi or aogai-shi ("master of lacquerware") in 1642. The technique for preparing the shellfish was introduced by Ômitake chikudun no peechin Hyôbu in 1690, who had studied such techniques in Hangzhou. [1]
Hakue involved simply placing pieces of gold leaf atop lacquered surface, while chinkin techniques (lit. "submerged/sunken gold") involved carving into the lacquered surface, and then filling in the space with gold leaf or gold powder. Chinese techniques of lacquer carving never took off in Ryûkyû, but instead, techniques of building up designs in relief using a lacquer putty, called tsuikin, became a distinctive element of Ryukuyan lacquerwares. This technique was first developed in 1715 by Higa chikudun no peechin Jôshô, based on Chinese techniques.[1] Ryûkyû lacquer also often made use of basketry skeletons for boxes and other objects.
Built around a core of deigo wood, Ryukyuan lacquerwares were traditionally exceptionally lightweight. In modern times, however, the wood of the gajumaru (banyan tree) has replaced the use of deigo.[2]
Lacquerware objects, especially with mother-of-pearl inlay, were common tribute or gift items sent to both China and Japan; an entire office, the kaizuri bugyô ("Mother-of-Pearl Magistrate") was dedicated to overseeing the production of these and other objects.
Ryûkyû lacquers are among the most common Ryukyuan artworks to find in museum collections in the West, alongside pottery and textiles; paintings and works of calligraphy are far less common.
References
- Failla, Donatella. "Ryukyu lacquerware in the Chiossone Museum of Oriental Art, Genoa." Abstract for presentation at 5th International Conference on Okinawan Studies, Ca' Foscari University of Venice, 14-16 September 2006.
- Gallery labels, Naha City Museum of History, August 2013.
