蒔絵，讀音Maki-e，是一種日本「噴繪」裝飾技藝。而其為所有烤漆工藝中，最為複雜的一種。圖案設計是將金粉或銀粉小心細緻地噴塗在未乾的漆上，通常為黑漆。
蒔絵 - Wikipedia
ja.wikipedia.org/wiki/蒔絵
一種日本工藝美術。以金屬或貝殼塗嵌在漆器表面，構成各種花鳥、山水等圖案的形狀，依製成方法可分為平蒔繪、高蒔繪、研出蒔繪和螺鈿蒔繪等。
蒔絵（まきえ）は、漆工芸技法の一つである。 漆器の表面に漆で絵や文様、文字などを描き、それが乾かないうちに金や銀などの金属粉を「蒔く」ことで器面に定着させる技法 ...
“Sumptuous: East Asian Lacquer, 14th–20th Century,” on view through March 29, explores the many ways in which lacquer has been manipulated to create designs by painting, carving, or inlaying precious materials such as gold or mother-of-pearl.http://met.org/1Di5nuY #AsianArt100
日本 江戸時代 蟹波蒔絵箱 Box with Crabs and Waves | 17th century | Japan
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本阿彌光悅 （Hon'ami Kōetsu 1558～1637.2.3） 日本畫家、書法家、工藝美術家，宗達光琳派的思想奠基者。號德友齋、大虛庵。
日本画家，书法家，工艺美术家。号德有斋、大虚庵。 生于京都，1637年2月3日卒于京都。信奉 佛教 ，古文化造诣深，尤精于书画、漆艺、陶瓷工艺及茶道等。1615年德川家康曾赐予他京都北面的领地，建立了名为光悦村的工艺美术基地。他的书法字体潇洒丰 满，富于装饰性。他还创作了许多四季花草、鹿、鹤等作品。漆器造型优美，常和绘画结合。他采用红土烧制的窑裂纹陶瓷，具有特殊的光泽，被誉为光悦釉，代表 作为不二山茶碗。
本阿彌光悅
[編輯首段]維基百科，自由的百科全書
| 日語寫法 | |
| 日語原文 | 本阿弥 光悦 |
| 假名 | ほんあみ こうえつ |
| 羅馬字 | Honami Kōetsu |
他出生於京都，本阿彌家歷代以刀劍鑑定、研磨、擦拭為業。光悅早年也繼承刀劍藝術的工作。但之後他的藝術創造領域漸增，現在他被譽為「寬永之三筆」的第一書法家、此外他在陶藝、漆器藝術、出版、茶道亦有涉獵，是個多才多藝的藝術家。
另外他在京都洛北鷹峯興建了當時廣為人知的藝術村。元和元年(1615年)時，德川家康賜與他在鷹峯的土地、本阿彌遂率領族人和市民、工匠等和他同是信仰法華宗的好友遷居至此。光悅死後、這裡變成了日蓮宗的寺廟光悅寺。
他與俵屋宗達及尾形光琳並稱琳派的創始者、光悅對後世的日本文化影響極大。特別是在陶藝方面他以樂燒型式的茶碗、漆器芸術方面則以裝飾用的硯箱聞名。
[編輯] 代表作
- 樂燒片身替茶碗 銘文「不二山」（サンリツ服部美術館、日本國寶）
- 舟橋蒔繪硯箱（東京國立博物館、日本國寶）
- 鶴下繪和歌卷（光悅書、宗達下繪）（京都國立博物館、日本重要文化財）
- 鹿蒔繪笛筒（大和文華館、日本重要文化財）
- 黒樂茶碗 銘文「雨雲」（三井文庫別館、日本重要文化財）
[編輯] 關聯項目
出典: フリー百科事典『ウィキペディア（Wikipedia）』
本阿弥 光悦（ほんあみ こうえつ、 永禄元年(1558年) - 寛永14年2月3日(1637年2月27日)）は、江戸時代初期の書家、芸術家。書道の光悦流の祖。
刀剣の鑑定、研磨、浄拭（ぬぐい）を家業とする京都の本阿弥家に生まれる。光悦もこうした刀剣関係の家業に従ったことと思われるが、今日ではむしろ「寛永の三筆」の一人に位置づけられる書家として、また、陶芸、漆芸、出版、茶の湯などにも携わったマルチアーティストとしてその名を残す。
光悦は、洛北鷹ヶ峯に芸術村（光悦村）を築いたことでも知られる。元和元年(1615年)、光悦は、徳川家康から鷹ヶ峯の地を拝領し、本阿弥一族や町衆、職人などの法華宗徒仲間を率いて移住した。王朝文化を尊重し、後水尾天皇の庇護の下、朝廷ともつながりの深かった光悦を都から遠ざけようというのが、家康の真の意図だったとも言われるが定かではない。光悦の死後、光悦の屋敷は日蓮宗の寺（光悦寺）となっている。
俵屋宗達、尾形光琳とともに、琳派の創始者として、光悦が後世の日本文化に与えた影響は大きい。陶芸では楽焼の茶碗、漆芸では装飾的な図柄の硯箱などが知られるが、とくに漆工品などは、光悦本人がどこまで制作に制作に関与したかは定かでなく、アート・プロデューサーとしての役割が大きかったものと思われる。
[編集] 代表作
- 楽焼片身替茶碗 銘「不二山」（サンリツ服部美術館、国宝）
- 舟橋蒔絵硯箱（東京国立博物館、国宝）(ｲﾒｰｼﾞ)
- 鶴下絵和歌巻（光悦書、宗達下絵）（京都国立博物館、重要文化財）
- 鹿蒔絵笛筒（大和文華館、重要文化財）
- 黒楽茶碗 銘「雨雲」（三井記念美術館、重要文化財）
[編集] 関連項目
Hon'ami Kōetsu (本阿弥光悦? 1558-1637) was a Japanese craftsman, potter, lacquerer, and calligrapher, whose work is generally considered to have inspired the founding of the Rinpa school of painting.
Hon'ami was born into a family of swordsmiths who had served the Imperial court as well as the likes of Tokugawa Ieyasu and Oda Nobunaga, major warlords of the Sengoku period (1467-1603). His grandfather was counted as one of the "companions and advisors" (同朋衆, dōbōshū) of Shogun Ashikaga Yoshimasa. Kōetsu's father, Hon'ami Kōji (d. 1603), received a regular stipend from the Maeda family, in payment for his services as a sword connoisseur. Kōetsu would continue this relationship of his family with that of the Maeda, and with their domain in Kaga Province; he would advise the Maeda on swords, paintings, and other art objects. Kōetsu would meet many members of the art community through his connections with the Maeda, including tea master Kobori Enshū.
Kōetsu would also develop a close relationship with the Nō theater, and with the Kanze family of actors who lived near the Hon'ami family compound in northern Kyoto. He may have performed in Nō productions as a chanter, and designed a number of works for use by the actors or the theater.
Although trained as a swordsmith, Hon'ami became accomplished in pottery, lacquer, and ceramics as a result of his interest in Japanese tea ceremony, which had been revived and refined only a few decades earlier by Sen no Rikyu. In this art, he is regarded as one of the top pupils of Furuta Oribe and of the style known as Raku ware. In all of Kōetsu's surviving correspondence, only one letter in fact concerns swords[1]. He is believed to have passed on his professional obligations in this matter to his adopted son Kōsa and grandson Kōho.
He was also an accomplished calligrapher, inspired as many of Japan's greatest calligraphers were, by the court writings of the Heian period. He was taught in this field by Prince Sonchō, who is said to have taught him the style of the famous classical Chinese calligrapher Wang Xizhi. He produced a wide variety of works, all in a flowing cursive style that recalled those classical traditions. Along with Konoe Nobutada and Shōkadō Shōjō, he came to be known as one of the Three Brushes of the Kan'ei Era (寛永の三筆, kan'ei no sanpitsu). Though he created a number of works in this classical style, Kōetsu also developed his own personal style of calligraphy, and taught it to many of his students.
Lacquer was yet another field in which Kōetsu was innovative and very active. Though earlier works attributed to him are quite conservative, towards the end of the 16th century and beginning of the 17th, he began to employ a number of innovative techniques. He specialized in designs using tin, lead and other base metals, along with gold and mother-of-pearl.
Hon'ami entertained a close relationship with the painter Tawaraya Sōtatsu, who is supposed to have decorated many of Hon'ami calligraphic works in gold leaf and paint. The two worked very closely for about fifteen years after the turn of the 17th century, and some scholars believe the two artists were related by marriage. Sōtatsu was a major member of the Rinpa school, and his paintings most likely reflect some degree of Hon'ami's influence and style.
In 1615, Hon'ami began an artist community northwest of Kyoto, in a place called Takagamine granted him by Tokugawa Ieyasu. Scholars disagree on whether this community was more focused on art or on religion, specifically Nichiren Buddhism, and whether this land grant was generous, or a form of exile. Nevertheless, it was here that Hon'ami would develop his unique style of painting and design which would later develop into the Rinpa school. The retreat was called Taikyo-an, and was used for prayer meetings and meditation, in addition to its function as an artist colony. A number of important figures, including the historian Hayashi Razan, visited there towards the end of Kōetsu's life. After his death in 1637, the colony was disbanded and the land returned to the shogunate by Hon'ami Kōho, Kōetsu's grandson.
Ernest Fenollosa, one of the first American collectors and critics of Japanese art, is quoted as writing that Hon'ami is the only artist of what Fenollosa called the Early Modern period worthy of being compared to the earlier masters[1].
[edit] References
- ^ a b Rosenfield, John M. (1999). Extraordinary Persons: Works by Eccentric, Nonconformist Japanese Artists of the Early Modern Era (1580-1868) in the Collection of Kimiko and John Powers. Cambridge, Massachusetts: Harvard Art Museums.
- Fister, Pat (1985). "Hon'ami Kōetsu." Kodansha Encyclopedia of Japan. Tokyo: Kodansha Ltd.
光悦の名碗 ５５年ぶり再会 「時雨」「乙御前」 旧如春庵宅に
2008年2月2日 夕刊
光悦の名碗「乙御前」（上）と「時雨」（下）＝愛知県一宮市大和町で
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国焼き茶碗（わん）の最高峰とされる江戸初期の芸術家、本阿弥光悦作の黒茶碗「時雨」（国の重要文化財）と赤茶碗「乙御前（おとごぜ）」が、元の 持ち主である茶人森川如春庵（じょしゅんあん、本名・勘一郎、１８８７－１９８０年）の住まい、愛知県一宮市大和町苅安賀の森川家に“里帰り”した。名高 い両碗がそろうのは、およそ５５年ぶりという。
名古屋市博物館で３月１日に始まる特別展「茶人のまなざし 森川如春庵の世界」（中日新聞社など主催）の出品に向け、会場放映ビデオの収録のため“再会”が実現した。
時雨は豪商の三井家、大阪・平瀬家に伝わり、如春庵が１６歳で入手した。３年後に買った乙御前とともに、古美術の目利きとして知られた如春庵の出発点となった茶碗。乙御前は半世紀以上も前に如春庵が手放し、現在は個人の所蔵となっている。
一方、時雨を含む「森川コレクション」が名古屋市に寄贈され、２年前に市博物館に移管されたのを受け、今回、如春庵ゆかりの名品を集めた特別展が企画された。時雨と乙御前が同時公開されるのは初めて。
生前の如春庵を知る東京国立博物館名誉館員で茶道研究家の林屋晴三さんは「光悦が最後に到達した時雨の静けさと、乙御前の自由な造形。コンセプト が全く違う２つの光悦茶碗を、１０代で自分のものにした審美眼を思う」と感慨深げ。如春庵の二男の妻、森川覚（さだ）子さんは「天国の義父も喜んでいると 思う」と話している。
【本阿弥光悦（ほんあみ・こうえつ）】 １５５８－１６３７年。江戸初期の芸術家で、書をよくし近衛信尹（のぶただ）、松花堂昭乗とともに「寛永の三筆」の１人。作陶にも秀で、白片身替わり茶碗銘「不二山」は国宝。
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