松田権六
Matsuda Gonroku
松田权六
松田權六
마쓰다 곤로쿠
蓬萊之棚 Cabinet with Hōrai (Mount Penglai) design 蓬莱之柜 蓬萊之櫃 봉래지붕
ほうらいのたな
- 00:00
- 04:40
古様に則った両側開きの棚で、色紙箱と硯箱を棚の下部に内蔵する。両扉を開くと屏風絵のような、水辺に鶴の群れが佇む様子が現れる。日本では不老不死の理想郷とされる蓬萊を、松竹梅と鶴亀という吉祥文を使って表現している。棚本体の柱には、布被せをせず漆だけを何度も塗り重ねたチーク材を、棚板や扉などの広い面には桧を用いた。扉と側板は桧材を素地とし、蘇芳で染めて網代に編んだ竹で覆った上から、摺漆を施している。鶴の目と嘴は金平文、首は卵殻、胴を金銀紛の高蒔絵、脚は絞漆に引掻きで表し、白金紛の付け描きで背景の流水を描く。鶴は２０羽もの真鶴を配していることに対し、亀は水中に在るとして描かず暗示させている。松と梅は、扉の裏や付属の箱に図柄として配しているが、竹は網代の編み目を表に出すことで、素材によって表現している。亀山天皇の歌「世のために身をば惜しまぬ心ともあらぶる神は照らしみるらむ」を、硯箱と色紙箱に銀平文と螺鈿で散らし書きしており、第２次世界大戦の敗色が濃い中、遺作となることを覚悟して制作に臨んだことが窺える。作者の卓越した技術や漆についての深い知識、工芸作品の意匠構成における思想などの総てが注ぎ込まれた、畢生の大作である。
明治29年（１８９６）金沢市に生まれる。石川県立工業学校漆工科描金部を卒業後、東京美術学校漆工科在学中より六角紫水に師事。昭和２年第８回帝展初入選以後、新文展、日展、日本伝統工芸展で活躍する。22年芸術院会員。30年重要無形文化財「蒔絵」保持者に認定される。日本工芸会創立に参加し、後進の育成にも尽力した。51年文化勲章受章。日本や中国の古典漆芸作品を深く究め、それらを総合的に発展させた格調高い作風を築いた。 A classic cabinet with doors on two sides (front and back), accompanied at the bottom by a shikishi box (box for square paperboards for writing poems or painting pictures) and an inkstone box. Opening both doors reveals a picture reminiscent of a folding screen painting, depicting a flock of cranes standing in the water. Mount Penglai, which is originally from Chinese mythology and is believed in Japan to be a utopia of eternal youth and immortality, is depicted using auspicious motifs of pine trees, bamboo, plum blossoms, cranes, and turtles. The posts of the cabinet body are made of teak, repeatedly coated with lacquer without applying cloth, and the shelves, doors, and other panels are made of cypress. The doors and side panels are made of cypress wood, covered with bamboo strips dyed with sappan wood and woven into meshes (ajiro); these then undergo a lacquering process known as suri-urushi, which involves repeatedly applying, spreading, and wiping off raw lacquer and polishing the surface, for a finish that enhances the beauty of the natural wood. The cranes’ eyes and beaks are depicted in gold hyōmon (inlaid gold sheet cutouts), the necks in rankaku (decoration with crushed eggshell), the bodies in gold and silver taka (raised) maki-e (decoration by sprinkling gold and silver powder onto a design, which has been drawn in lacquer and built up with layers of lacquer and other materials), the legs in shibo-urushi (lacquer mixed with protein, causing a chemical reaction that makes the lacquer sticky and thick) that is then scratched into, and the background flowing water in tsukegaki (fine-lined lacquer painting followed by a sprinkling of fine powder) using platinum powder. While twenty cranes (white-naped cranes) are clearly depicted in this work, there are no turtles to be seen, suggesting that they must be in the water.
The pines and plum blossoms are depicted as part of the designs on the back of the doors or on the accompanying boxes, while the bamboo is represented by the material used: the surface of the bamboo strips woven into mesh patterns (ajiro). The inkstone box and the shikishi box feature scattered characters from a famous waka poem by Emperor Kameyama (1249–1305) that expressed his determination to risk his life against the Mongolian invasions of Japan, using silver hyōmon (inlaid silver sheet cutouts) and mother-of-pearl inlay. This suggests that the artist was prepared for the possibility that the work might become known posthumously, as Japan’s defeat in World War II was looking likely. This masterpiece is a culmination of the artist’s life, incorporating everything about his art: his outstanding skills, his deep knowledge of lacquer, and his philosophy on the design and composition of craft works.
Born in 1896 in Kanazawa, Ishikawa. Graduated from the Ishikawa Prefectural Industrial School Department of Lacquer Art, specializing in gold-powder decoration, and apprenticed to Rokkaku Shisui while studying at the Tokyo School of Fine Arts Department of Lacquer Art. His works were first selected for the 8th Imperial Art Academy Exhibition (Teiten) in 1927. Following that, he exhibited at the New Ministry of Education Fine Arts Exhibition (Shin Bunten), the Japan Fine Arts Exhibition (Nitten), and the Japan Traditional Art Crafts Exhibition. Became a member of the Japan Art Academy in 1947. Designated a holder of the Important Intangible Cultural Property of maki-e in 1955. Participated in the establishment of the Japan Kōgei Association, and helped develop the next generation. Received the Order of Culture in 1976. Devoted himself to the pursuit of the classical lacquer art works of Japan and China, and established a prestigious style by comprehensively expanding on them. 按照古典样式制作的两开式装饰柜，装饰柜下部内置色纸盒和砚盒。两扇门打开后，可以看到群鹤伫立水边的景色，宛如屏风画一样。使用松、竹、梅、鹤、龟等吉祥纹样表现日本长生不老的理想之乡蓬莱仙境。装饰柜主体的柱子没有使用布包覆，仅用通过反复涂漆的柚木材，装饰柜板和门等的宽面采用了桧木。门和侧板以桧木为素胎，用苏芳染色编织成竹箔的竹子覆盖之后，再用摺漆技法进行加工。鹤的眼睛和嘴为金平脱、脖颈采用蛋壳、身体用金银粉的高莳绘、用绞漆刮出方式表现脚部，用白金粉描绘背景里的流水。作品中画有20只白颈鹤，却未画出龟，仅暗示其在水中。松和梅作为图案配在了架门的背面和附属的盒子上，竹子是在表面露出网状纹路，通过素材来表现。用银平脱和螺钿将龟山天皇的和歌文字零散地描绘在砚盒和色纸盒上，可以看出，在第二次世界大战沉重的战败气氛中，作者在创作时已做好了其可能成为遗作的心理准备。是作者毕生集大成之作，倾注了其所有的卓越技术、丰富的漆器知识以及工艺作品设计结构中的思想等。
1896年出生于金泽市。从石川县立工业学校漆工科描金部毕业后，自东京美术学校漆工科学习的时期开始师从六角紫水。1927年首次入选第8届帝国美术展览会以后，活跃在新文部省美术展、日本美术展、日本传统工艺展。1947年成为日本艺术院会员。1955年被认定为重要无形文化遗产“莳绘”传承人。不仅参加了日本工艺会创立，还竭尽全力培养接班人。1976年荣获文化勋章。深入钻研日本和中国的古典漆艺作品，建立了使其综合发展的高雅风格。 遵循古老樣式設計而成，由左右兩側開啟的櫃子。櫃膛下方設有色紙盒及硯盒。將兩側櫃門打開後，便會出現鶴群佇立於水邊的景象，宛如屏風畫一般。作者運用松、竹、梅、鶴、龜等寓意吉祥的圖樣描繪出日本人心目中長生不老的理想鄉──蓬萊。櫃子本體的柱子採用無布料包覆，僅經過反覆上漆的柚木材，而櫃板及櫃門等較寬的面則使用檜木。櫃門及側板以檜木材為底，再用蘇木染色，並將編出網代陣列的竹子覆於其上，最後再以摺漆手法加工而成。鶴眼及鶴喙採用黏貼金箔的平文技法，鶴脖及鶴身分別運用蛋殼及金銀粉堆疊出高蒔繪，腳部則以絞漆刮出，再撒上白金粉，於背景上描繪出流水的紋樣。作品中繪有多達20隻的白枕鶴，卻未見任何龜影，僅暗示其在水中。在櫃門背面及附屬的盒子上可看到松樹及梅花圖樣，又將竹子編成網代陣列的樣式，顯露於外，透過材料本身來展現竹的意象。作者以銀平文技法及螺鈿技法將龜山天皇的和歌文字散寫於硯盒及色紙盒上，可見日本在二戰的頹勢讓其在製作的過程中，預想此作品有可能成為遺作。本作品中凝結了作者超凡的技術、對漆藝的深厚知識，以及對工藝品構圖設計的想法，可謂是作者集畢生大成的巨作。
明治29年（1896）生於金澤市。畢業於石川縣立工業學校漆工科描金部，後進入東京美術學校漆工科就讀，於在學期間師事六角紫水。自昭和2年（1927）首次入選第8屆帝國美術展覽會以來，多次參加新文部省美術展覽會、日本美術展覽會、日本傳統工藝展。昭和22年（1947）獲選為日本藝術院會員。昭和30年（1955）經認定為重要無形文化財「蒔繪」保存者。參與日本工藝會的設立，竭力培植後進。昭和51年（1976）獲頒文化勳章。對日本及中國的古典漆藝作品有深入的研究，並在融合發展後創造出一種高雅的風格。 옛 방식에 따른 양쪽으로 열리는 선반으로, 종이 상자와 벼루함이 선반 하단에 내장돼 있다. 양쪽 문을 열면 마치 병풍 그림처럼 학 떼가 물가에 서 있는 모습이 펼쳐진다. 일본에서 불로장생의 이상향으로 여겨지는 봉래를 송죽매(松竹梅)와 학과 거북이라는 상서로운 문양으로 표현했다. 선반 본체의 기둥은 천을 씌우지 않고 옻칠만 여러 번 덧칠한 티크재를, 선반판과 문 등 넓은 면에는 편백나무를 사용했다. 문과 측판은 편백나무를 소지바탕으로 사용하고 소방(蘇芳)으로 염색한 대나무로 짠 그물을 덮어 그 위에서 옻칠을 했다. 학의 눈과 부리는 얇은 금판을 오려 붙인 금평문(金平文), 목은 알껍질, 몸통은 금은분의 다카마키에(高蒔絵), 다리는 점성이 있는 옻칠을 긁어 표현하고, 배경의 흐르는 물은 백금분으로 그렸다. 20마리의 학을 배치한 반면, 거북이는 그려 넣지 않고 물속에 있는 것을 암시했다. 소나무와 매화는 문짝 뒷면과 부속된 상자에 문양으로 배치하고, 대나무는 그물코를 드러냄으로써 소재를 통해 표현했다. 가메야마천황의 시 “世のために身をば惜しまぬ心ともあらぶる神は照らしみるらむ(세상을 위해 몸을 아끼지 않는 마음을 신이 비춰주리라)”를 은박을 오려낸 은평문과 자개로 벼루함과 종이함에 흐트러지게 그려, 2차 세계대전에서 패색이 짙은 가운데 유작이 될 것을 각오하고 제작에 임했음을 짐작할 수 있다. 작가의 뛰어난 기술과 옻칠에 대한 깊은 지식, 공예품의 디자인 구성에 담긴 사상 등 모든 것이 집약된 일생의 대작이다.
1896년 가나자와시에서 태어났다. 이시카와현립공업학교 칠공과 묘금부 졸업 후, 도쿄미술학교 칠공과 재학 중 롯카쿠 시스이(六角紫水)에게 사사. 1927년 제30회 제국미술원전람회(帝展)첫 입선 이후 신문부성미술전람회(新文展), 일본미술전람회(日展), 일본전통공예전에서 활약. 1947년 예술원 회원. 1955년 중요무형문화재 “마키에(蒔絵)” 보유자로 인정받음. 일본공예회 창립에 참여하여 후진 양성에도 힘썼으며 1976년 문화훈장 수상. 일본과 중국의 고전 칠공예 작품을 깊이 연구하여 이를 종합적으로 발전시킨 격조 높은 작풍을 구축했다.
明治29年（１８９６）金沢市に生まれる。石川県立工業学校漆工科描金部を卒業後、東京美術学校漆工科在学中より六角紫水に師事。昭和２年第８回帝展初入選以後、新文展、日展、日本伝統工芸展で活躍する。22年芸術院会員。30年重要無形文化財「蒔絵」保持者に認定される。日本工芸会創立に参加し、後進の育成にも尽力した。51年文化勲章受章。日本や中国の古典漆芸作品を深く究め、それらを総合的に発展させた格調高い作風を築いた。 A classic cabinet with doors on two sides (front and back), accompanied at the bottom by a shikishi box (box for square paperboards for writing poems or painting pictures) and an inkstone box. Opening both doors reveals a picture reminiscent of a folding screen painting, depicting a flock of cranes standing in the water. Mount Penglai, which is originally from Chinese mythology and is believed in Japan to be a utopia of eternal youth and immortality, is depicted using auspicious motifs of pine trees, bamboo, plum blossoms, cranes, and turtles. The posts of the cabinet body are made of teak, repeatedly coated with lacquer without applying cloth, and the shelves, doors, and other panels are made of cypress. The doors and side panels are made of cypress wood, covered with bamboo strips dyed with sappan wood and woven into meshes (ajiro); these then undergo a lacquering process known as suri-urushi, which involves repeatedly applying, spreading, and wiping off raw lacquer and polishing the surface, for a finish that enhances the beauty of the natural wood. The cranes’ eyes and beaks are depicted in gold hyōmon (inlaid gold sheet cutouts), the necks in rankaku (decoration with crushed eggshell), the bodies in gold and silver taka (raised) maki-e (decoration by sprinkling gold and silver powder onto a design, which has been drawn in lacquer and built up with layers of lacquer and other materials), the legs in shibo-urushi (lacquer mixed with protein, causing a chemical reaction that makes the lacquer sticky and thick) that is then scratched into, and the background flowing water in tsukegaki (fine-lined lacquer painting followed by a sprinkling of fine powder) using platinum powder. While twenty cranes (white-naped cranes) are clearly depicted in this work, there are no turtles to be seen, suggesting that they must be in the water.
The pines and plum blossoms are depicted as part of the designs on the back of the doors or on the accompanying boxes, while the bamboo is represented by the material used: the surface of the bamboo strips woven into mesh patterns (ajiro). The inkstone box and the shikishi box feature scattered characters from a famous waka poem by Emperor Kameyama (1249–1305) that expressed his determination to risk his life against the Mongolian invasions of Japan, using silver hyōmon (inlaid silver sheet cutouts) and mother-of-pearl inlay. This suggests that the artist was prepared for the possibility that the work might become known posthumously, as Japan’s defeat in World War II was looking likely. This masterpiece is a culmination of the artist’s life, incorporating everything about his art: his outstanding skills, his deep knowledge of lacquer, and his philosophy on the design and composition of craft works.
Born in 1896 in Kanazawa, Ishikawa. Graduated from the Ishikawa Prefectural Industrial School Department of Lacquer Art, specializing in gold-powder decoration, and apprenticed to Rokkaku Shisui while studying at the Tokyo School of Fine Arts Department of Lacquer Art. His works were first selected for the 8th Imperial Art Academy Exhibition (Teiten) in 1927. Following that, he exhibited at the New Ministry of Education Fine Arts Exhibition (Shin Bunten), the Japan Fine Arts Exhibition (Nitten), and the Japan Traditional Art Crafts Exhibition. Became a member of the Japan Art Academy in 1947. Designated a holder of the Important Intangible Cultural Property of maki-e in 1955. Participated in the establishment of the Japan Kōgei Association, and helped develop the next generation. Received the Order of Culture in 1976. Devoted himself to the pursuit of the classical lacquer art works of Japan and China, and established a prestigious style by comprehensively expanding on them. 按照古典样式制作的两开式装饰柜，装饰柜下部内置色纸盒和砚盒。两扇门打开后，可以看到群鹤伫立水边的景色，宛如屏风画一样。使用松、竹、梅、鹤、龟等吉祥纹样表现日本长生不老的理想之乡蓬莱仙境。装饰柜主体的柱子没有使用布包覆，仅用通过反复涂漆的柚木材，装饰柜板和门等的宽面采用了桧木。门和侧板以桧木为素胎，用苏芳染色编织成竹箔的竹子覆盖之后，再用摺漆技法进行加工。鹤的眼睛和嘴为金平脱、脖颈采用蛋壳、身体用金银粉的高莳绘、用绞漆刮出方式表现脚部，用白金粉描绘背景里的流水。作品中画有20只白颈鹤，却未画出龟，仅暗示其在水中。松和梅作为图案配在了架门的背面和附属的盒子上，竹子是在表面露出网状纹路，通过素材来表现。用银平脱和螺钿将龟山天皇的和歌文字零散地描绘在砚盒和色纸盒上，可以看出，在第二次世界大战沉重的战败气氛中，作者在创作时已做好了其可能成为遗作的心理准备。是作者毕生集大成之作，倾注了其所有的卓越技术、丰富的漆器知识以及工艺作品设计结构中的思想等。
1896年出生于金泽市。从石川县立工业学校漆工科描金部毕业后，自东京美术学校漆工科学习的时期开始师从六角紫水。1927年首次入选第8届帝国美术展览会以后，活跃在新文部省美术展、日本美术展、日本传统工艺展。1947年成为日本艺术院会员。1955年被认定为重要无形文化遗产“莳绘”传承人。不仅参加了日本工艺会创立，还竭尽全力培养接班人。1976年荣获文化勋章。深入钻研日本和中国的古典漆艺作品，建立了使其综合发展的高雅风格。 遵循古老樣式設計而成，由左右兩側開啟的櫃子。櫃膛下方設有色紙盒及硯盒。將兩側櫃門打開後，便會出現鶴群佇立於水邊的景象，宛如屏風畫一般。作者運用松、竹、梅、鶴、龜等寓意吉祥的圖樣描繪出日本人心目中長生不老的理想鄉──蓬萊。櫃子本體的柱子採用無布料包覆，僅經過反覆上漆的柚木材，而櫃板及櫃門等較寬的面則使用檜木。櫃門及側板以檜木材為底，再用蘇木染色，並將編出網代陣列的竹子覆於其上，最後再以摺漆手法加工而成。鶴眼及鶴喙採用黏貼金箔的平文技法，鶴脖及鶴身分別運用蛋殼及金銀粉堆疊出高蒔繪，腳部則以絞漆刮出，再撒上白金粉，於背景上描繪出流水的紋樣。作品中繪有多達20隻的白枕鶴，卻未見任何龜影，僅暗示其在水中。在櫃門背面及附屬的盒子上可看到松樹及梅花圖樣，又將竹子編成網代陣列的樣式，顯露於外，透過材料本身來展現竹的意象。作者以銀平文技法及螺鈿技法將龜山天皇的和歌文字散寫於硯盒及色紙盒上，可見日本在二戰的頹勢讓其在製作的過程中，預想此作品有可能成為遺作。本作品中凝結了作者超凡的技術、對漆藝的深厚知識，以及對工藝品構圖設計的想法，可謂是作者集畢生大成的巨作。
明治29年（1896）生於金澤市。畢業於石川縣立工業學校漆工科描金部，後進入東京美術學校漆工科就讀，於在學期間師事六角紫水。自昭和2年（1927）首次入選第8屆帝國美術展覽會以來，多次參加新文部省美術展覽會、日本美術展覽會、日本傳統工藝展。昭和22年（1947）獲選為日本藝術院會員。昭和30年（1955）經認定為重要無形文化財「蒔繪」保存者。參與日本工藝會的設立，竭力培植後進。昭和51年（1976）獲頒文化勳章。對日本及中國的古典漆藝作品有深入的研究，並在融合發展後創造出一種高雅的風格。 옛 방식에 따른 양쪽으로 열리는 선반으로, 종이 상자와 벼루함이 선반 하단에 내장돼 있다. 양쪽 문을 열면 마치 병풍 그림처럼 학 떼가 물가에 서 있는 모습이 펼쳐진다. 일본에서 불로장생의 이상향으로 여겨지는 봉래를 송죽매(松竹梅)와 학과 거북이라는 상서로운 문양으로 표현했다. 선반 본체의 기둥은 천을 씌우지 않고 옻칠만 여러 번 덧칠한 티크재를, 선반판과 문 등 넓은 면에는 편백나무를 사용했다. 문과 측판은 편백나무를 소지바탕으로 사용하고 소방(蘇芳)으로 염색한 대나무로 짠 그물을 덮어 그 위에서 옻칠을 했다. 학의 눈과 부리는 얇은 금판을 오려 붙인 금평문(金平文), 목은 알껍질, 몸통은 금은분의 다카마키에(高蒔絵), 다리는 점성이 있는 옻칠을 긁어 표현하고, 배경의 흐르는 물은 백금분으로 그렸다. 20마리의 학을 배치한 반면, 거북이는 그려 넣지 않고 물속에 있는 것을 암시했다. 소나무와 매화는 문짝 뒷면과 부속된 상자에 문양으로 배치하고, 대나무는 그물코를 드러냄으로써 소재를 통해 표현했다. 가메야마천황의 시 “世のために身をば惜しまぬ心ともあらぶる神は照らしみるらむ(세상을 위해 몸을 아끼지 않는 마음을 신이 비춰주리라)”를 은박을 오려낸 은평문과 자개로 벼루함과 종이함에 흐트러지게 그려, 2차 세계대전에서 패색이 짙은 가운데 유작이 될 것을 각오하고 제작에 임했음을 짐작할 수 있다. 작가의 뛰어난 기술과 옻칠에 대한 깊은 지식, 공예품의 디자인 구성에 담긴 사상 등 모든 것이 집약된 일생의 대작이다.
1896년 가나자와시에서 태어났다. 이시카와현립공업학교 칠공과 묘금부 졸업 후, 도쿄미술학교 칠공과 재학 중 롯카쿠 시스이(六角紫水)에게 사사. 1927년 제30회 제국미술원전람회(帝展)첫 입선 이후 신문부성미술전람회(新文展), 일본미술전람회(日展), 일본전통공예전에서 활약. 1947년 예술원 회원. 1955년 중요무형문화재 “마키에(蒔絵)” 보유자로 인정받음. 일본공예회 창립에 참여하여 후진 양성에도 힘썼으며 1976년 문화훈장 수상. 일본과 중국의 고전 칠공예 작품을 깊이 연구하여 이를 종합적으로 발전시킨 격조 높은 작풍을 구축했다.