Page 106 - Christie's Irving Collection Lacquer Bronse jade and Ink March 2019

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L A C Q U E R • J A D E • B R O N Z E • I N K T H E R V I N G C O L L E C T I O N 髹金飾玉 - 歐雲伉儷珍藏

810 A RECTANGULAR LACQUER TRAY 柴田是真（1807-1891） 日本 江戶/明治時代十九世紀晚期 蒔繪茶壺紋
SHIBATA ZESHIN (1807-1891), JAPAN, MEIJI PERIOD,
LATE 19TH CENTURY 長方盤

Decorated in gold, silver, red, black and yellow hiramaki-e and takamaki-e 款識：行年七十三翁是真。
against an ishimeji (imitation stone) ground with millet on a tea kettle and
來源
with a grasshopper perched on the handle, signed Gyonen nanajusan okina Klaus F. Naumann，東京，1997年。
Zeshin [Zeshin at the age of seventy-three]
歐雲伉儷珍藏，編號3863。
14æ in. (37.6 cm.) long
「青銅塗」是柴田是真發明的衆多漆器工藝之一，本件漆盤的地子就使用了
$20,000-30,000
「青銅塗」法。藝術家在未干的漆上撒入青銅和炭粉再加以打磨，形成了具有
PROVENANCE 褶皺紋理的深綠色漆以仿古銅器的色澤。盤中的銅壺則以紅漆堆繪並用黑漆
Klaus F. Naumann, Tokyo, 1997. 和清漆表現陰影。秋季豐收之時，農民用這種銅壺裝茶帶到田間享用，壺嘴中
The Irving Collection, no. 3863. 插稻草作蓋以防蟲類。柄上的蚱蜢刻畫入微，剛剛收割的稻穗金燦慾滴，無不
體現著豐收的喜悅。另有數例飾相同茶壺紋的柴田是真漆盤見諸出版，因而此
One of many lacquer techniques Zeshin created was bronze-lacquering, 件漆盤或為一組五件中的一件。
or seido-nuri. For the ground of this tray, he created a dark-green ground
by scattering bronze and charcoal dusts on the wet lacquer and polishing 這組漆盤中的其它例子在檀香山藝術博物館，見《The Art of Shibata
them with oils and powders. The surface is textured with a wrinkled Zeshin: The Mr. and Mrs. James E. O’Brien Collection at the
pattern to create the luster and tone of aged bronze ware. He used red Honolulu Academy of Arts》，檀香山，1979年，圖版58；倫敦the Khalili
lacquer, combined with clear lacquer and black lacquer shading, for the 珍藏，見《Shibata Zeshin: Masterpieces of Japanese Lacquer from
large copper kettle used by farmers to carry tea to the felds during the the Khalili Collection》一書封面，倫敦，1997年；以及Edson舊藏，見
festive autumn harvest. Straw is stufed into the kettle spout, perhaps to 《 Edo Chic Meiji Technique: The Art of Shibata Zeshin featuring
keep out insects. The grasshopper clinging to the handle is incised to great the Edson Collection》，東京，2009年，圖版E-21。另見《柴田是真展》，
efect. Freshly harvested rice stalks are painted in raised gold, silver and 東京，1980年，圖版54。
blue-gold or ao-kin, an alloy of gold and silver. There are other trays with
this design, indicating that the Irving lacquer tray was originally one of a
set of fve.

Other examples from this set, all nearly identical, are in the Honolulu
Museum of Art, the Khalili Collection, London, and formerly, the Edson
Collection. For the Honolulu tray, see The Art of Shibata Zeshin: The Mr. and
Mrs. James E. O’Brien Collection at the Honolulu Academy of Arts (Honolulu:
Honolulu Academy of Arts, 1979), pl. 58. For the Khalili tray, see the cover
image of Shibata Zeshin: Masterpieces of Japanese Lacquer from the Khalili
Collection, London, 1997. For the tray formerly in the Edson Collection, see
Edo Chic, Meiji Technique: The Art of Shibata Zeshin featuring the Edson
Collection, Tokyo, 2009, pl. E-21. See, also, Shibata Zeshin ten, Shibata
Zeshin exhibition, Tokyo: Itabashi Museum, 1980, pl. 54.

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