from Noto

03/09/2019

Exhibition Notice

Gallery FUMI
2 Hay Hill, Mayfair, London W1J 6AS
+44 (0) 20 7490 2366

19/07/2019

Book/Catalogue Review

URUSHI: 1,200-Years History of People and Lacquer in Japan

This is a tome of real quality. And it is a fitting testament to the material we know as true lacquer. It has been used in Japan for at least 1,200 years and there are so many fine skills associated with it, it is difficult to know really where to start—they range from its use as a simple application on wood to enhance its grain and to make a wooden core more durable. But that really is just a beginning. The decorative techniques are numerous, engaging and of unrivalled beauty. True lacquer can also be used as an adhesive.

The book-cum-catologue is divided in to six sections, all very well illustrated. There are some sections dealing with true lacquer on a scientific level too.

Only one drawback. The book is in Japanese and the only English language section is toward the back of the volume. Here the six main sections of the book are outlined under the heading The Wonders of URUSHI: 1,200-Years History of People and Lacquer in Japan.

An introduction precedes text summarising each section. The book is the result of Collaborative Research (exhibit type) of the National Museum of Japanese History. “The new establishment of Urushi Cultural History based on Interdisciplinary Research” that was conducted between 2013 and 2015.

Some people may be wondering why the material is termed URUSHI as apposed to true lacquer or simply lacquer. It seems that many people working with this natural substance fear that is might be thought that “lacquer” is a synthetic material like a paint. This is why the Japanese word for the material is so often used in the hope that it will not be mistaken for a synthetic concoction.

The six sections are headlined in the following way:

1. Urushi Trees and Lacquer Culture

2. Techniques of Lacquer

3. Life with Lacquer

4. Lacquer and Power

5. Lacquer on the Move

6. The Present and Future of Lacquer

Anyone who is even only vaguely interested in true lacquer, is properties, attributes, history and uses will find this book a-must-have volume. Even without any knowledge of Japanese, a page by page examination of the book is thoroughly recommended.

1,200-Years History of People and Lacquer in Japan, published by the National Museum of Japanese History, 2017

ISBN978-4-86195-140-4 C0621

https://www.rekihaku.ac.jp/english/exhibitions/project/old/170711/index.html

URUSHI　ふしぎ物語—人と漆の1,200年史―

Do feel free to pass on the address of this blog to anyone you think will be interested. Or share it on a social media site. Should you wish to leave a comment, please do so by clicking on the comment mark at the bottom left of this or any of the other posts. If you have found this blog interesting, why not become a follower. Thank you.

22/06/2019

Exhibition Notice

Simon Starling work at lie-de-france

This exhibition spotlights the work of Simon Starling supported by the true lacquer artisans of the Shioyasu Studio in Wajima on the Noto Peninsula. The impression is of Sakamoto Masahiko, a true lacquer artisan working at his table. The mask is in the style of a Noh theatre mask.

Click on the link for more details.

le plateau　paris

11/06/2019

Exhibition Notice

The Pleasures of Makie

An exhibition of lacquerwork by Hikoju Makie, the true lacquer workshop headed by Takashi Wakamiya.

Tokyo, Shinjuku Isetan 5th Floor, Center Park, Stage Five

Wednesday June 19th to Tuesday June 25th

Takashi Wakamiya will be at the gallery every day during the exhibition.

On Saturday 22nd June from 2 o’clock he will give a talk lasting about 30 minutes on The Pleasures of Makie.

Over the last thirty years we have sought to create likenesses in true lacquer of metal and ceramics, based on the skills we have learned and the design approaches we have employed. But that is not all. We have also developed conceptual abilities fostered by the folklore of the Noto Peninsula. This has expanded our vocabulary within the art and craft of true lacquer.

It gives us great pleasure, therefore, to present some of the results of our work at this exhibition.

Over the last three decades we have produced pieces of lacquerware symbolic of the Heisei period, which has now come to an end. With the coming of the Reiwa era, we will once again be pushing back the boundaries of lacquerware art as we move forward once more and trust that we may rely on your support and encouragement in our endeavours.

Takashi Wakamiya

彦十蒔絵 Hikoju Makie

企画・広報・海外窓口 Planning, public relations and overseas window

Contact: 高禎蓮 Wawa / Kao, Chen-Lien

Mobile:+81-90-2375-9093

Address: 1-188, Kekachidaira-machi, Wajima City, Ishikawa, Japan

23/05/2019

Interdependence

Interdependence by Bill Tingey

To me there is a strong sense of interdependency between Japanese gardens and the houses or other buildings they serve, especially if they are traditional in style. But that is not all. There is an equally strong sense of mutual dependency between the elements of a Japanese garden too. A sense of stillness, harmony and balance prevail, amongst all elements - this is a sign of interdependency.

Although many gardens in the UK are adjacent to the buildings they serve, they do not necessarily depend on them in any physical or aesthetic sense. Of course such a statement can be challenged. Nevertheless, in the context of a comparison with Japanese gardens, it is safe to say that buildings and gardens in the UK depending on each other for their credibility, atmosphere and aesthetic qualities are uncommon.

The gardens at Bryan’s Ground are just one of the exceptions. There is a strong sense of mutual dependency between the planning, planting and the house. All are charged with a real sense of balanced interdependence.

With traditional Japanese dwellings in particular, the interplay between interior and exterior spaces is a much more common feature and in some cases a necessity - simply speaking there is a need to see and enjoy the gardens from within the house.

Controlling exactly what can be seen from inside a building makes it possible to compose vignettes of a particular part of a garden.

Figure 1: A “soft” view of the garden from the Bosen Tea Room, Koho-an, Daitoku-ji, Kyoto.

Such control over the views outside can either be “soft” or “hard”. The Bosen Tea Room at Koho-an in Kyoto is a fitting example. Our dialogue with the garden is manipulated. The interior performs like a camera. We only see what the designer wants us to see. (Figures 1 and 2)

Figure 2: A “hard” view of the garden from the Bosen Tea Room, Koho-an, Daitoku-ji, Kyoto.

Built structures such as walls and other features also sometimes provide a “canvas” on which shadows are cast. This can strengthen the sense of oneness between what is built and what is planted. Such effects can also enhance the sense of seasonality and time.

Figure 3: Shadows dance on a wall in the temple complex of Daitoku-ji, Kyoto.

Among the temples in Kyoto there are ample opportunities for light to cast shadows on walls. The question is were pruned pines placed in front of these walls in the grounds of the Daitoku-ji temple complex on purpose? The original idea may simply have been to show off the clusters of pine needles and twisted branches. Even if it was at first unintended, once the play of light and shadows was recognised as a fleeting performance, there was no reason not to plan for it in the future. (Figure 3)

Figure 4: A juxtaposition of age and youth at Sojiji Temple, Noto Peninsula, Ishikawa Prefecture.

The decoratively framed openings of a covered walkway at the Sojiji temple on the Noto peninsula, formed a backdrop to a newly leafed acer. I found the juxtaposition of weathered wood and fresh foliage particularly inspiring. This combination had special qualities. It was as if I were seeing the hand of a very elderly person reaching out to take the hand of an infant. (Figure 4)

This was my first impression. Then I began to turn over in my mind just how beautiful the leaves would look in their autumn palette in front of this timeless and seemingly unchanging backdrop.

We have to imagine just how important each of the main elements are to one another. The weathered wood on its own is just that - old wood. The foliage on its own is nothing more than foliage. But the two together are a statement or a “picture” with a message.

I doubt that many Japanese designers of gardens would use the term interdependency as I have. I am sure, however, they would recognise the importance of the way garden features - planting, water, trees, shrubs, rocks, gravel et cetera - work in unison while alone their ability to engage us is perhaps minimal.

In Japanese the term yugen is quite often used with reference to gardens. The two characters together refer to a desired sense of beauty inherent in objects like fine thread on bobbins. In the case of yu, the ideogram is of threads seen in dim light, as might be found in the mountains.

Figure 5: The ideogram for yugen epitomised at the International House, Kyoto.

The meaning of the second character, gen, is similar. One end of a thread passing through a hole is the only indication that there are more bobbins of thread on the other side of the board.

Thus yugen can describe the way that a rock partly hidden by some foliage is so much more appealing than if the rock was seen in isolation. One element seen without the other has only half or even less expressive energy to that when they are seen together. It’s a matter of interdependency. (Figure 5)

A designer, photographer and writer, Bill Tingey lived, studied and worked in Japan for 24 years. His work has appeared in a number of publications in Japan and the UK.

Bill Tingey Photo © Copyright

This article was originally published in the spring edition of Shakkei, the journal of the UK Japanese Garden Society

Do feel free to pass on the address of this blog to anyone you think will be interested. Or share it on a social media site. Should you wish to leave a comment, please do so by clicking on the comment mark at the bottom left of this or any of the other posts. If you have found this blog interesting, why not become a follower. Thank you.

16/05/2019

Exhibition Notice

International Antiques Fair 2019,

Hong Kong Convention and Exhibition Centre

25th to 28th May (VIP day 24th May)

Booth F5 Hikoju Makie

This latest piece of fine true lacquerware from the Hikoju Makie Studio will be on show at the exhibition. With its red ground, grains of man-made opal and the kind of motifs that might be found at a temple, the design and decoration of this tea caddy has the jewel-like quality of a piece of finely worked cloisonné ware. The core was made from Japanese cypress from Kiso and decorated under the watchful eye of Takashi Wakamiya in Wajima, one of Japan’s foremost true lacquerware making centres. The overall effect is one of auspicious style and technique—a fine example of lacquerware art, singular in its finish and resplendent in its craft.　(See contact detail below.)

棗

寶紅色珐瑯彩瓔珞紋樣　棗　

φ7.1cm×H7.3cm

本作品は天然木曽ヒノキで木地を制作、輪島で塗りを施し、

人工オパールで七宝焼のような輝きを再現した新しい装飾技法です。

さらに蒔絵の技法で吉祥文様の「瓔珞紋様」を描きました。

七宝焼に見えるような漆芸、これも見立漆器の一つとなります。

國際古玩展2019香港

Date：2019/May/25~28

彦十蒔絵Booth: F5

彦十蒔絵 Hikoju Makie

企画・広報・海外窓口 Planning, public relations and overseas window

Contact: 高禎蓮 Wawa / Kao, Chen-Lien

Mobile:+81-90-2375-9093

Address: 1-188, Kekachidaira-machi, Wajima City, Ishikawa, Japan

24/04/2019

Nakatani Residence

People of status enter to the right, family and others to the left.

With Stone

The Noto peninsula is lucky enough to have several examples of very good traditional Japanese folk houses. The elegant design and interesting layout of the Kuromaru Residence (covered in two posts—22/03/2019 and 28/02/2019) is really special. The same is true of the Tokikuni Residences (See post dated 16/03/2016). But there is another: the Nakatani Residence.

This large Village Headman’s house is located about a 15 minute drive from Noto-Satoyama Airport and is open to the public. The building is surrounded by forests and paddy fields and is standing on raised ground.

The main part of the building.

It has large reception spaces to accommodate quite large gatherings but also has smaller rooms with real character. One is a tea room, which looks out on to a small pond and manicured garden.

In contrast to the elegant tea ceremony room is the spacious space with an earthen floor. It is here that various agriculture jobs were done, although now it is possible to partake of some artistically arranged treats.

A feast for the eyes and palate.

A large storeroom with walls coated with true lacquered is of particular note. It is said that the master of the house was the only person allowed in the store where treasured pieces of true lacquerware were kept. Esteemed guests and friends would, it seems, also be allowed in the hallowed space but only with the head of the family—now not open to the public.

A wonderful example of how good a lacquered table can look.

Another interesting feature is the stonework holding up an embankment from where the house can be entered. Stone has seldom been used for building in Japan. Stone paths and larger boulders feature in Japanese gardens but traditionally it was timber that was the main choice of material for the construction of buildings and bridges.

A wonderful jigsaw of stone.

The ramparts of a number of traditional castles in Japan are exceptional for their use of cut and dressed stone.

In April 2016 Kumamoto Castle in Kyushu was badly damaged by a strong earthquake, which in particular wrecked the stonework supporting the main tower and turrets. Undeterred by the enormity of the task, local and national government bodies set to to rebuild and restored the castle, which is mostly original and not as some are a concrete effigy.

The stones making up the ramparts are being reused and computer technology is being employed as a means of matching stones to fit the original pattern in which they were laid. All of the work is expected to be completed in 2036!

The Nakatani Residence, however, might be smaller than a castle but it provides a wonderful opportunity to experience what can be achieved with timber—and a little stone.

Japan Times, Kumamoto Report https://www.japantimes.co.jp/news/2017/04/13/national/kumamoto-castle-repairs-expected-take-decades/

Japanese: Nakatani Residence https://www.noto-nakatanike.com

Nakatani Residence, 28-13 Noto-cho, Hosu-gun, Ishikawa Prefecture

Tel: +81 0768 76 1551 (Japanese)

Open 10:00 a.m. to 5.00 p.m. Closed Tuesdays and December to March.

22/03/2019

Kuromaru Residence Part TWO

A Masterpiece

Japanese carpenters who were involved in the construction of Buddhist temples after the religion was introduce into Japan were treading new ground. They did, however, have some help from specialists who made the crossing from the Korean peninsula (See 12/02/2019 What? Roban-hakase!?).

While an elite few were skilled in the building Shinto shrines, many many more Japanese carpenters were highly skilled in the construction of dwellings of all kinds. Skills were handed down from one generation to the next and would have become part of their DNA even before Buddhism came to Japan.

Despite being a major challenge because of its size, the building of the Kuromaru Residence was certainly within the capabilities of a seasoned carpenter. Although records are scarce it seems the history of the family dates back to the beginning of the sixteenth century and the present building dates from the second half of the seventeenth century. As things stand, therefore, it seems likely that the house is perhaps the oldest folk-house in the whole of the Ishikawa prefecture.

The style of the roof in particular is of ancient origins. The gable ends are set back with vents to allow smoke from the hearths to leave the building. In point of fact, the smoke from the fires escaping through the roof space helps to deter insects from attacking the roof members. The roof is thatched with reeds and the deep eaves are supported by an arrangement called noki segai—a form of bracketing roughly resembling jetting but only supporting deep eaves rather than an upper floor as it would be in the UK. The lean-to extension at the eaves is tiled.

Although the layout of the interior is somewhat conventional it may have partly mimicked houses occupied by members of the warrior classes. So, in some respects the layout does seem to have been tinkered with to accommodate desired alterations, some of which may have been difficult to achieve. Hence the degree of unconventional planning that can be seen in the layout and position of spaces.

The main entrance is situated in the southwest corner of the plan. To call it a “main entrance” is perhaps a little too grand. It is, nevertheless, the only way to access the interior for honoured guests. Some family members and those employed by the owner way well have resisted using this wide entrance.

During the winter in particular, however, the space would have been an area where essential work could be done in relative comfort, screened from icy winds and drifting snow.

The space is framed by four posts. Scholars feel this may be further indication of the true age of the building.

Although pure conjecture, it seems likely that high ranking officials or others might have arrived at this entrance in a palanquin. They would then have made their way to the Tokonoma Corridor. With the shutters along the Veranda open, it would have been possible to admire the surrounding scenery from this passageway while aiming toward the small tokonowa at the end.

On the whole, the spaces to the west of the long axis of the building were for special occasions or to entertain people of high status—Local Government Officials or Priests for example. At the northern end is the Main Reception Room, okuzashiki, with a decorative alcove—Tokonoma. There are in fact four such alcoves (marked with a T) in the building, all helping to emphasise the importance of the spaces they adorn.

The recessed entrance provides a little extra shelter to put up or take down an umbrella, when leaving or entering the building.

It seems likely that an honoured guest would proceed from the entrance along the Tatami Corridor to reach the Main Reception Room. The other reception rooms would be occupied by retainers or guest attending a wedding reception for example—the space in which they sat would reflect their status, making them eligible to sit in the Middle or Lower Reception Room.

What is particularly unusual about the layout is the fact that there is no dedicated entrance for a person of high status. At the Lower Tokikuni Residence (See post 16/03/2016) a separate entrance was provided for an honoured guest leading directly to the top reception room.

The square hearths to the east of the long axis of the plan speak for themselves—an extended family lived in comparative comfort—but with little or no privacy— in a number of rooms. But even here status within the extended family would have been determined. Everybody would have known their place. Some rooms would have been off-limits to some individuals. Even positions relative to the hearths were determined by hierarchy.

The head of the family would sit in the kami-za, the Top Seat north of the hearth. Perhaps others found their places by instinct.

All in all, the Kuromaru Residence is a stunning piece of traditional architecture: nothing short of a Masterpiece.

Reference: Japanese Folk Houses, Vol. 2, Farmhouses II, First Published 10th June 1980 by Gakken.

「日本民家」第2巻　農家Ⅱ、1980年6月10日出版、出版社：株式会社学習研究社。

28/02/2019

Kuromaru Residence Part ONE

A Rural Mansion

I first came across the Kuromaru residence in 2015 when I made my first visit to the Noto Peninsula. It was early evening when I spotted the large roof of this imposing property backed by a considerable stand of cedars—both house and trees were shrouded in the light of approaching dusk. I was anxious not to be late for another appointment, so I took a few photographs and sped off toward Wajima, while promising myself that I would return to find out more about this building on a subsequent visit to the area.

In June 2018 I made sure to allocate some time to visit the Kuromaru residence along with Shinji Takagi, an architect and resident of Wajima.

He was hoping that we would be able to see the interior of the house, which is a nationally designated Important Cultural Property dating from the second half of 17th century. It all depended on whether or not a member of the family was there to show us around.

In a slightly untypical Japanese manner, we made no appointment. Instead we hoped that our combined humility and professional credentials would be enough to grant us access. Sadly we were wrong.

There was someone there, however, so we did hear something of the culture of the property. Well, perhaps we should call it the “agricultural culture” of the property.

The lady who was there—we never did find out if she was a family member or not—was busy tending the neatly arranged vegetable garden across a narrow lane in front of the house.

Noto has severe winters. It is not uncommon for there to be a metre of snow in such a mountainous area as Wakayama where the building stands, a short distance from Suzu in the north of the peninsula.

The debris from the reed-thatched roof has a second life on the vegetable patch.

The lady told us that the reed thatched roof of the building actually provides a nutrient for the vegetable patch she was lovingly tending. The snow which settles on the roof breaks down small shreds of the reeds. These fall to the ground as and when the snow thaws. Then, when all the snow has melted this reed debris is collected and spread among the vegetables like a fertiliser.

Just being able to approach the house was in fact a welcome bonus for us. The details of the building are special and amply made up for not being to see the interior. After all, the main building covers some 400 sq. m. composed of more than 15 individual spaces of various sizes, most of which can be screened off from one another. It would have been a overwhelming experience to be sure but almost too much to fully appreciate in a short time.

Reading the plan of the building, however, can provides us with an opportunity to more fully understand what is so special about this really outstanding piece of traditional Japanese rural architecture.

Reference: Japanese Folk Houses, Vol. 2, Farmhouses II, First Published 10th June 1980 by Gakken.

「日本民家」第2巻　農家Ⅱ、1980年6月10日出版、出版社：株式会社学習研究社。

12/02/2019

What? Roban-hakase!?

鑪盤博士

ろばんはかせ

What? Roban-hakase!?

I first came across the word roban-hakase in a text book about Japanese architecture. I was studying to take the entrance exam to the Masters Course at Tokyo University of Art and Music (now Tokyo University of the Arts), so I needed to become familiar with some of the most important historical buildings in the country, about which there were bound to be questions in the exam.

A roban-hakase was just one of a number of the highly skilled specialists who were welcomed by the Japanese Court, and came from the Korean peninsula to pass on the skills needed to build a Buddhist temple. Buddhism is said to have been introduced to Japan in the early part of the 6th century and the building of temples followed in its wake.

Simply speaking roban-hakase were skilled metal workers, proficient in the use of a furnace. They were accompanied by other artisans such as roof tile makers, artists as well as others skilled in the building of temples. Much would have been unfamiliar to the Japanese as there was a need to follow precepts often symbolising the cardinal doctrines of Buddhist believes.

In time the layout and style of Buddhist temples built on the archipelago began to reflect Japanese taste and conditions. This is particularly true of the buildings, which were constructed from the readily available resources of fine timber to be found in the country. The pagodas were no exception. The making of the finials, however, would no doubt have been closely monitored by the roban-hakase as metalwork skills were needed.

The Pagoda and Main Hall (Kondo) of Horyuji Temple. The asymmetrical arrangement of these two buildings within the temple compound is so unusual. The Pagoda is thought to date from around 700.

The asymmetrical arrangement of the main buildings at Horyuji Temple in Nara is a fine example of how Japanese inclinations were perhaps satisfied, although the layout of the temple is almost unique and was hardly ever repeated.

Other than the pagoda finial, the making of a multitude of other metal fittings would most certainly have kept the roban-hakase and their apprentices fully occupied.

A glimpse of the Pagoda and finial seen from the Daikodo or lecture hall.

Even before the introduction of Buddhism, Japanese carpenters would have certainly had the skill to build what was required. Nevertheless, they might have been fazed by the requirements of the Buddhist faith.

They would not, however, have shrunk from the challenge of constructing a residential building of any size. On the contrary. They were in their element when building farmhouses, palatial homes and dwellings for the common man.

But that will be dealt with in a subsequent blog post.

Tatara

The first character of the word roban-hakase is used when referring to an ancient form of furnace. Please refer to the links below, either in English or Japanese, to find out more about the tatara furnace.

About tatara in English

http://tetsunomichi.gr.jp/lang-en/history-development-tatara/what-is-tatara/

About tatara in Japanese

https://ja.wikipedia.org/wiki/たたら製鉄

For more information on Horyuji Temple please refer to the link below.

About Horyuji Temple in English/Japanese

http://www.horyuji.or.jp/en/

27/01/2019

2019 Ishikawa Prefecture Traditional Crafts Fair

Friday 8th, Saturday 9th, Sunday 10th February

10 a.m. to 6 p.m.

Prism Hall Tokyo Dome close to Suidobashi station.

This Fair will be an ideal opportunity to see a number of traditional Japanese crafts from Ishikawa Prefecture, especially the true lacquerware from the city of Wajima on the Sea of Japan.

Many kinds of tableware will be on show, some produced by the Shiyoyasu workshop.

The fair provides an unprecedented chance to see and handle true lacquerware, in order to gain a better understanding of the robust and yet finely finished ware from Wajima. You will not be disappointed.