Studies on the basic examples of early-modern lacquerwork with a focus on Kodai-ji Makie

以高台寺莳绘为中心的近代早期漆器基本实例研究

• 批准号: 16320024
• 负责人: NAGASHIMA Meiko
• 金额: $ 4.54万
• 依托单位: Kyoto National Museum
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (B)
• 财政年份: 2004
• 资助国家: 日本
• 起止时间: 2004 至 2005
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-16320024/
• 关键词: early-modern; lacquer; basic examples; makie; Kodai-ji; 漆工芸

This research discusses the lacquer style of Kodai-ji makie.1) Production periodA minute observation of the group of early-modern furnishing at Kodai-ji Temple shows that these objects were produced over a considerably wide span of time. Although the pieces are treated collectively as the former possessions of Toyotomi Hideyoshi and his wife, both the design and the lacquer technique of the various works finely differ.2) Formation of Kodai-ji makieThe Kodai-ji makie style developed from the traditional makie style and flourished throughout the Edo period.3) Relation between Kodai-ji makie and traditional makie.The traditional lacquer technique makie has been used to intensively decorate a limited area with luxurious materials and extreme precision. Therefore, it has not been suitable for decorating large surfaces or for mass production. The Kodai-ji makie style marked a new departure from this restriction in both technique and design.4) ChronologyStage I : This stage covers the period … More when the foundation of this new style was built and extends over approximately fifteen years, from around Tensho 13 (1585), when Hideyoshi gains the hegemony, to Keicho 3 (1598), the year of his death at Osaka Castle.Stage II : Many works were manufactured in this new style, which was widely accepted. This period lasts for about twenty-five years, covering the year of Hideyoshi's death to that of his wife's death, and including the building of Kodai-ji Temple.Stage III : The Kodai-ji makie style gradually lost its centrality as a new style, and its boundaries with the traditional makie style become indistinct again. At the same time, the tendency to return to traditional makie styles also becomes evident, starting from around the mid-17th century to around the Genroku era (1688-1704).Based on the above-mentioned points, this study on Kodai-ji makie examined the historicity of legendary possessions of or gifts from Hideyoshi, which were made in this lacquer style. This study also accumulated and examined scientific data, focusing on the comparison of magnified images of metal grains from Kodai-ji makie examples. Less

本研究探讨高台寺漆器的风格。1）制作时期通过对高台寺早期现代家具组的细致观察，可以看出这些物品的制作时间相当长。虽然这些作品被集体视为丰臣秀吉和他的妻子以前的财产，不同的作品的设计和漆技术都有很大的不同。2）高台寺漆的形成高台寺漆风格是从传统漆风格发展而来的，并在江户时代盛行。3）高台与漆的关系。ji makie和传统的makie。传统的漆器技术makie已被用于密集装饰有限的区域与豪华的材料和极端的精度。因此，它不适合装饰大的表面或大规模生产。在技术和设计上，高台寺的风格标志着一个新的突破。4）年表第一阶段：这一阶段涵盖了这一时期 ...更多信息 从天正十三年（1585年）左右丰臣秀吉取得统治权，到庆长三年（1598年）丰臣秀吉在大坂城去世，这一新风格的基础在大约十五年的时间里建立起来。第二阶段：许多作品都是以这种新风格制作的，这是广泛接受的。这一时期大约持续了25年，从丰臣秀吉去世的那一年到他的妻子去世的那一年，包括高台寺的建造。第三阶段：高台寺的装饰风格逐渐失去了作为一种新风格的中心地位，它与传统装饰风格的界限再次变得模糊。与此同时，从世纪中期到元禄时代（1688-1704年），回归传统漆器风格的趋势也变得明显。基于上述观点，本研究对高台寺漆器进行了研究，探讨了传说中丰吉拥有或赠送的漆器风格的历史性。本研究还积累和检查了科学数据，重点是比较来自Kodaiji makie示例的金属颗粒的放大图像。少